Motion Picture Quotes

Mad Matter: "Have I gone mad?" Alice: "I'm afraid so. You're entirely bonkers. But I'll tell you a secret. All the best people are.

You're entirely bonkers. But I'll tell you a secret. All the best people are.

You're a hopeless romantic," said Faber. "It would be funny if it were not serious. It's not books you need, it's some of the things that once were in books. The same things could be in the 'parlor families' today. The same infinite detail and awareness could be projected through the radios, and televisors, but are not. No,no it's not books at all you're looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type or receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us. Of course you couldn't know this, of course you still can't understand what I mean when i say all this. You are intuitively right, that's what counts.

Nobody knows anything...... Not one person in the entire motion picture field knows for a certainty what's going to work. Every time out it's a guess and, if you're lucky, an educated one.

A motion picture, or music, or television, they have to maintain a certain decorum in order to be broadcast to a vast audience. Other forms of mass media cost too much to produce a risk reaching only a limited audience. Only one person. But a book. . . . A book is cheap to print and bind. A book is as private and consensual as sex. A book takes time and effort to consume - something that gives a reader every chance to walk away. Actually, so few people make the effort to read that it's difficult to call books a "mass medium." No one really gives a damn about books. No one has bothered to ban a book in decades.

I want you to tell me about every person you’ve ever been in love with. Tell me why you loved them, then tell me why they loved you. Tell me about a day in your life you didn’t think you’d live through. Tell me what the word home means to you and tell me in a way that I’ll know your mother’s name just by the way you describe your bedroom when you were eight. See, I want to know the first time you felt the weight of hate, and if that day still trembles beneath your bones. Do you prefer to play in puddles of rain or bounce in the bellies of snow? And if you were to build a snowman, would you rip two branches from a tree to build your snowman arms or would leave your snowman armless for the sake of being harmless to the tree? And if you would, would you notice how that tree weeps for you because your snowman has no arms to hug you every time you kiss him on the cheek? Do you kiss your friends on the cheek? Do you sleep beside them when they’re sad even if it makes your lover mad? Do you think that anger is a sincere emotion or just the timid motion of a fragile heart trying to beat away its pain? See, I wanna know what you think of your first name, and if you often lie awake at night and imagine your mother’s joy when she spoke it for the very first time. I want you to tell me all the ways you’ve been unkind. Tell me all the ways you’ve been cruel. Tell me, knowing I often picture Gandhi at ten years old beating up little boys at school. If you were walking by a chemical plant where smokestacks were filling the sky with dark black clouds would you holler “Poison! Poison! Poison!” really loud or would you whisper “That cloud looks like a fish, and that cloud looks like a fairy!” Do you believe that Mary was really a virgin? Do you believe that Moses really parted the sea? And if you don’t believe in miracles, tell me — how would you explain the miracle of my life to me? See, I wanna know if you believe in any god or if you believe in many gods or better yet what gods believe in you. And for all the times that you’ve knelt before the temple of yourself, have the prayers you asked come true? And if they didn’t, did you feel denied? And if you felt denied, denied by who? I wanna know what you see when you look in the mirror on a day you’re feeling good. I wanna know what you see when you look in the mirror on a day you’re feeling bad. I wanna know the first person who taught you your beauty could ever be reflected on a lousy piece of glass. If you ever reach enlightenment will you remember how to laugh? Have you ever been a song? Would you think less of me if I told you I’ve lived my entire life a little off-key? And I’m not nearly as smart as my poetry I just plagiarize the thoughts of the people around me who have learned the wisdom of silence. Do you believe that concrete perpetuates violence? And if you do — I want you to tell me of a meadow where my skateboard will soar. See, I wanna know more than what you do for a living. I wanna know how much of your life you spend just giving, and if you love yourself enough to also receive sometimes. I wanna know if you bleed sometimes from other people’s wounds, and if you dream sometimes that this life is just a balloon — that if you wanted to, you could pop, but you never would ‘cause you’d never want it to stop. If a tree fell in the forest and you were the only one there to hear — if its fall to the ground didn’t make a sound, would you panic in fear that you didn’t exist, or would you bask in the bliss of your nothingness? And lastly, let me ask you this: If you and I went for a walk and the entire walk, we didn’t talk — do you think eventually, we’d… kiss? No, wait. That’s asking too much — after all, this is only our first date.

The entire universe is God's cosmic motion picture, and that individuals are merely actors in the divine play who change roles through reincarnation; mankind's deep suffering is rooted in identifying too closely with one's current role, rather than with the movie's director, or God.

In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the centre of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it.

You should have Hugo throw you in the pool." The golem turned his head toward Seth, who shrugged. "Sure, that would be fun." Hugo nodded, grabbed Seth, and, with a motion like a hook shot, flung him skyward. Kendra gasped. They were still thirty or forty feet away from the edge of the pool. She had pictured the golem carrying Seth much closer before tossing him. Her brother sailed nearly as high as the roof of the house before plummeting down and landing in the center of the deep end with an impressive splash. Kendra ran to the side of the pool. By the time she arrived, Seth was boosting himself out of the waster, hair and clothes dripping. "That was the freakiest, awesomest moment in my life!" Seth declared. "But next time, let me take off my shoes.

All religions are branches of one big tree. It doesn't matter what you call Him just as long as you call. Just as cinematic images appear to be real but are only combinations of light and shade, so is the universal variety a delusion. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture. One's values are profoundly changed when he is finally convinced that creation is only a vast motion picture and that not in, but beyond, lies his own ultimate reality.

I always like to look on the optimistic side of life, but I am realistic enough to know that life is a complex matter. With the laugh comes the tears and in developing motion pictures or television shows, you must combine all the facts of life — drama, pathos and humor.

Avoid the tyranny of the reasonable voice...it will guarantee a complacency of never trying anything adventurous...

Life is like a roller coaster, live it, be happy, enjoy life

This reminded him of Alvis Bender's contention that stories were like nations - Italy, a great epic poem, Britain, a thick novel, America, a brash motion picture in technicolor...

Your mad, bonkers, completely off your head. But to tell you a secret. All the best people are.

The brains of members of the Press departments of motion-picture studios resemble soup at a cheap restaurant. It is wiser not to stir them.

Destructive and irresponsible freedom has been granted boundless space. Society appears to have little defense against the abyss of human decadence, such as, for example, misuse of liberty for moral violence against young people, motion pictures full of pornography, crime and horror. It is considered to be part of freedom and theoretically counter-balanced by the young people's right not to look or not to accept. Life organized legalistically has thus shown its inability to defend itself against the corrosion of evil.

In my dreams I’ll always see you soar Above the sky In my heart There always be a place For you for all my life I’ll keep a part Of you with me And everywhere I am There you’ll be

Georgie took out her phone. 'I want to take a picture of you two.' She held up her phone and motioned for us to get together. Darcy and I lined up against the railing. 'No, I need you closer together to get you both in the photo,' she instructed. I had taken countless pictures on the waterfront and I knew that if you were getting the skyline in the background, you didn't need to be that close. Darcy put his arm around my shoulder and we leaned in. I slipped my arm around his waist and I noticed how easily I fit into the little nook on his side. 'Oh, hold on, I'm having problems.' Georgie played with her phone for a few moments while we just stood there in our posed embrace. 'Georgie...' She looked up at her brother and blushed. 'Um, I think it works now.

Slowly and gently, Augustus Brine explained to the king of the Djinn about the illusion created by motion pictures. When he finished, he felt like he had just raped the tooth fairy in front of a class of kindergartners.

If one could run the story of that first human group like a speeded-up motion picture through a million years of time, one might see the stone in the hand change to the flint ax and the torch.

At best Americans give but a limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest.

There was much to put out of his mind. Why was it difficult to forget Chekov's astonished delight which greeted him at the command airlock when he boarded. And on the bridge - Kirk! The mere name made Spock groan inwardly as he remembered what it had cost him to turn away from that welcome. T'hy'la!

He promised to write a book later about the trip. He sold the rights to the motion pictures and still photographs that would be taken, and he agreed to give a long lecture series on his return. In all these arrangments, there was one basic assumption - that Shackleton would survive.

Chicago was to corruption what Pittsburgh was to steel or Hollywood to motion pictures. It refined and cultivated it, and embraced it without embarrassment.

there are a million things we survive every day without recognizing we were ever at risk. Then we have a close call, and we become acutely aware of what that fraction of an inch or that split second means.

I been figuring, what to put in. Motion pictures? Radios? Stereoscopic viewers? All those in one place so any man can run his hand over it and smile and say, ‘Yes, sir, that’s happiness.

No, no, it's not the books you are looking for! Take it where you can find it, in old phonograph records, in old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us.

Vejur was everything that Spock had ever dreamed of becoming. And yet Vejur was barren! It would never feel pain. Or joy. Or challenge. It was so completely and magnificently logical that its accumulation of knowledge was totally useless.

Mountains are the means, the man is the end. The goal is not to reach the tops of mountains, but to improve the man. —WALTER BONATTI, Italian climber

A picture may be worth a thousand words, but those well-arranged words are worth a multi-million-dollar motion picture.

Take it where you can find it, in old photograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself.

Like television, motion pictures, and computers, [Stephen] King has replaced reading...the triumph of the genial King is a large emblem of the failures of American education.

I believe...that to be very poor and very beautiful is most probably a moral failure more than an artistic success. Shakespeare would have done well in any generation because he would have refused to die in a corner; he would have taken the false gods and made them over; he would have taken the current formulae and forced them into something lesser men thought them incapable of. Alive today he would undoubtedly have written and directed motion pictures, plays, and God knows what. Instead of saying, "This medium is not good," he would have used it and made it good. If some people called some his work cheap (which some of it was), he wouldn't have cared a rap, because he would know that without some vulgarity there is no complete man. He would have hated refinement, as such, because it is always a withdrawal, and he was too tough to shrink from anything.

Who doesn't have a dark place somewhere inside him that comes out sometimes when he's looking in a mirror? Dark and light, we are all made out of shadows like the shapes on a motion-picture screen. A lot of people think that the function of the projector is to throw light on the screen, just as the function of the story-teller is to stop fooling around and simply tell what happened, but the dark places must be there too, because without the dark places there would be no image and the figure on the screen would not exist.

The [Motion Picture Production Code] took effect on March 31, 1930, 5 months too late to prevent the Wall Street Crash, but early enough to keep The Sixties from happening until approximately 1964. (When America fell victim to the British Invasion).

There were two things, they told Doremus, that distinguished this prairie Demosthenes. He was an actor of genius. There was no more overwhelming actor on the stage, in the motion pictures, nor even in the pulpit. He would whirl arms, bang tables, glare from mad eyes, vomit Biblical wrath from a gaping mouth; but he would also coo like a nursing mother, beseech like an aching lover, and in between tricks would coldly and almost contemptuously jab his crowds with figures and facts - figures and facts that were inescapable even when, as often happened, they were entirely incorrect.

Dad took moving pictures of us children washing dishes, so that he could figure out how we could reduce our motions and thus hurry through the task. Irregular jobs, such as painting the back porch or removing a stump from the front lawn, were awarded on a low-bid basis. Each child who wanted extra pocket money submitted a sealed bid saying what he would do the job for. The lowest bidder got the contract.

The Cosmic Director has written His own plays, and assembled the tremendous casts for the pageant of the centuries. From the dark booth of eternity, He pours His creative beam through the films of successive ages, and the pictures are thrown on the screen of space. Just as the motion-picture images appear to be real, but are only combinations of light and shade, so is the universal variety a delusive seeming. The planetary spheres, with their countless forms of life, are naught but figures in a cosmic motion picture, temporarily true to five sense perceptions as the scenes are cast on the screen of man’s consciousness by the infinite creative beam.

Technology would have long ago made privacy impossible, except that this had only made it more precious and desirable--and in the close confines of starship life, respect for another's privacy had become a powerful tradition.

I was a struggling single mom when my novel, The Forlorned, became a motion picture. I thought my life had turned around for the better until a convicted child molester sued me for trademark infringement over the word FORLORNED. Finally, after three long years of legal proceedings, the US Supreme Court sided with me. Always stand up and fight for what is right. Never give in—never give up!

It is not books you need, it's some of the things that once were in books...take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us.

Suppose every photo of me ever taken was an infinitesimal piece? Every magazine ad, every negative, every frame of motion picture film - another tiny molecule of me, stolen away to feed an audience that is *never* satiated. And when someone is fully consumed - vampirized - they move on, still hungry, to pick their next victim by making him or her a star. That's why they're called consumers. ("Red Light")

Horace, however, had arrayed himself in a Gothic assortment of crushed velvet, black satin, and patent leather that shouldn't have been allowed in my view. He might as well have I AM A VAMPIRE embroidered across the front of his watered-silk waistcoat. An outfit like that is going to get him staked one of these days; it's exactly what Boris Karloff would have worn, if he had joined the cast of Rocky Horror Motion Picture Show.

He was split, one part of him never left this mental chamber that pictured itself as a sphere full of light fading into dark, because there was no way out. But motion in this world depended on rest in the world outside. A man is in bed, wanting to sleep. A rat is behind the wall at his head, wanting to move. The man hears the rat fidget and cannot sleep, the rat hears the man fidget and dares not move. They are both unhappy, one fidgeting and the other waiting, or both happy, the rat moving and the man sleeping.

Hollywood's Studio Era was part of a Golden Age because it didn't need profanity (unlike reality-television today)

I told you she was the wrong Alice... You've lost your muchness.... Hatter!!!! Off With Their Head!!!

The only reason that the Vikings settled in Vinland is because we decided to make a motion picture showing how the Vikings settled in Vinland.

I’m Caitlin McDonald,” she said, loosening the thick wool scarf from around her neck and down off her face, motioning her chin toward the big male. “You’ve already met Hector and his gang.” When Major Standback said widow I pictured an older woman. Not this one. She was young, no more than thirty. The cold on the skin of her fine features made her face shine. She had the clean, clear beauty of a china doll.

H. L. Mencken called it “the one authentic rectum of civilization,” but for most people Hollywood was a place of magic. In 1927, the iconic sign on the hillside above the city actually said HOLLYWOODLAND. It had been erected in 1923 to advertise a real estate development and had nothing to do with motion pictures. The letters, each over forty feet high, were in those days also traced out with electric lights. (The LAND was removed in 1949.)

Film analysis enables us to recognize how the filmmakers have their magic on us, how all the constituent elements of the film have combined to create that magic. Rather than rob us of the pleasures of watching films, this approach affords us the even greater pleasure of deep engagement

To the RKO motion picture camera at her 100th birthday party: “I pray for the day when working men and women are able to earn a fair share of the wealth they produce in a capitalist system, a day when all Americans are able to enjoy the freedom, rights and opportunities guaranteed them by the Constitution of the United States of America.” — Mother Jones

What could he say?

It was the first time the features and formative processes of the desert had made me pause and absorb just how small and brave we are, we the human race.

The ladder tilts the opposite way, like it doesn’t want to be involved in anything this ugly, and all of this is in the slowest possible motion for Lewis, his head snapping as many pictures as it can on the way down, like they can stack up under him, break his fall.

Eventually, I sickened of people, myself included, who didn’t think enough of themselves to make something of themselves—people who did only what they had to and never what they could have done. I learned from them the infected loneliness that comes at the end of every misspent day. I knew I could do better. —MARK TWIGHT, “I Hurt, Therefore I Am

The Fae book was definitely filled with the same stories as hers, but this one was filled with picture after picture of Jared. She couldn’t help but flip backward a few pages and see magical images come to life: of Jared defending her in an alley. Sitting in art class with Mina, spinning on the pottery wheel. There was another one of Jared by the lake, teaching her to fight. Jared and her in the storage room, laughing, before their tickling fight. She flipped forward and saw the last page filled with a motion-captured image of Jared and her sharing a kiss.

Words are plastic these days. Small loans made to desperate people at exorbitant interest rates are called payday advances. A cheesy hotel paired with a seedy casino is called a resort. Any assemblage of frenetic images, bad music, and incoherent plot is called a major motion picture.

I don’t know. We have everything we need to be happy, but we’re not happy. Something’s missing. I looked around. The only thing I positively knew was gone was the books I’d burned in ten or twelve years. So I thought books might help.” “You’re a hopeless romantic,” said Faber. “It would be funny if it were not serious. It’s not books you need, it’s some of the things that once were in books. The same things could be in the "parlour families” today. The same infinite detail and awareness could be projected through the radios and televisors, but are not. No, no, it’s not books at all you’re looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget.

During the 1970s (and particularly because of Vietnam), it slowly became standard for absolutely everyone to go to college, particularly if they had no desire to get a real job. One of the results was a massive population of film school students, most of whom became waiters and valets in the 1980s. Since the vast majority of these Kubrick wannabes couldn't crack the motion picture industry, they saw opportunities to make minimovies in the world of rock 'n' roll.

I was in Sarasota, Florida, on a spring-break trip with my friends Bruce and Karen Moore. Bruce and I were waiting on the beach for the rest of our crew when and a man and his grown kids came strolling up the sand. They looked at me for a minute, sort of hesitating, and then asked, "Would you mind taking a picture?" "Sure," I said, and quickly arranged all of us in a line, putting myself in the middle and motioning to Bruce to come snap the photo. Right about that time, the father said, "Actually, we were wondering if you could take a picture just of us." An understandable mistake on my part, but really embarrassing. Bruce has had a field day reminding me of that one ever since. Lesson learned: Never assume anything about your own importance. It's a great big world, and all of us are busy living our lives. None of us knows all the time and effort that another person puts into his or her passion.

The mistake we make in putting emphasis on happiness is to forget that life is a process, defined by activity and motion, and to search instead for the one perfect state of being. There can be no such state, since change is the essence of life. Scholars who study meaning in life distinguish between synchronic meaning and diachronic meaning. Synchronic meaning depends on your state of being at any one moment in time: you are happy because you are out in the sunshine. Diachronic meaning depends on the journey you are on: you are happy because you are making progress toward a college degree. If we permit ourselves to take inspiration from what we have learned about ontology, it might suggest that we focus more on diachronic meaning at the expense of synchronic. The essence of life is change, and we can aim to make change part of how we find meaning in it.

Time if the inner form of animal sense that animates events-the still frames-of the spatial world. The mind animates the world like the motor and gears of a projector. Each weaves a series of still pictures-a series of spatial states-into an order, into the 'current' of life. Motion is created in our minds by running "film cells" together. Remember that everything you perceive-even this page-is actively, repeatedly, being constructed inside your head. It's happening to you right now. Your eyes cannot see through the wall of the cranium; all experience including visual experience is an organized whirl of information in your brain. If your mind could stop its "motor" for a moment, you'd get a freeze frame, just as the movie projector isolated the arrow in one position with no momentum. In fact, time can be defined as the inner summation of spatial states.

It’s not books you need, it’s some of the things that once were in books. The same things could be in the ‘parlor families’ today. The same infinite detail and awareness could be projected through the radios and televisors, but are not. No, no, it’s not books at all you’re looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type of receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them, at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us.

It’s important to remember something: California is not a state built on moderation. We invented motion pictures. We made an electric sports car. We’re both the brain (Silicon Valley) and the heart (Hollywood, alas) of this great nation, and meanwhile we grow everyone’s strawberries. We’re open to innovation. We’re open to new ideas. We’re open to odd couples—and to strays from all parts of the world. Look at our last governor: an Austrian body builder and son of a Nazi married to John F. Kennedy’s niece. Anything can happen.

When I think of excellence in motion, I think of the big picture. Because of the magnitude of this concept, I look at it from an aerial perspective. It is a mindset that challenges the boundaries of self-induced limits—that point where you aspire to exceed your expectations, where the mind-body-achievement connection resides and wins time and time again.

These are true stories told from memory – to which you are entitled to ask, what is truth, and what is memory to a creative writer in what we may delicately call the evening of his life? To the lawyer, truth is facts unadorned. Whether such facts are ever findable is another matter. To the creative writer, fact is raw material, not his taskmaster but his instrument, and his job is to make it sing. Real truth lies, if anywhere, not in facts, but in nuance.

The rock strata of the inner canyon changed from dark umbers and black shadows to immense bands of pastel yellow, white, green, and a hundred shades of red in the mysterious chemistry of twilight.

Other lives wind themselves into your own and then leave for distant places or wink out like extinguished lamps, and then all the evidence you have that there was ever any time is a few scribbled words and a few blurred pictures. Then those burn in fire or blow away in wind and you have nothing.

If you don't want a man unhappy politically, don't give him two sides to a question to worry him; give him one. Better yet, give him none. Let him forget there is such a thing as war. If the government is inefficient, top-heavy, and tax-mad, better it be all those than that people worry over it. Peace, Montag. Give the people contests they win by remembering the words to more popular songs or the names of state capitals or how much corn Iowa grew last year. Cram them full of noncombustible data, chock them so damned full of 'facts' they feel stuffed, but absolutely 'brilliant' with information. Then they'll feel they're thinking, they'll get a sense of motion without moving. And they'll be happy, because facts of that sort don't change. Don't give them any slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy. Any man who can take a TV wall apart and put it back together again, and most men can nowadays, is happier than any man who tries to slide-rule, measure and equate the universe, which just wont be measured or equated without making man feel bestial and lonely.

Reality came with a bite, a pinch, a kiss. Longing, loss, resentment, and the most impossible of all, passion. Passion was real. It wasn't an obsession with the thing you couldn't get better at, like my dad had coldly told me long ago. It was the only thing you could get better at. Without passion, there could be no growth.

other motion-picture stars, many of whom had promised to invest in his new corporation, Sebring International. While keeping his original salon at 725 North Fairfax in Los Angeles, he planned to open a series of franchised shops and to market a line of men’s toiletries bearing his name. The first shop had been opened in San Francisco in May 1969, Abigail Folger and Colonel and Mrs. Paul Tate being among those at the grand opening.

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion. The sullen murmur of the bees shouldering their way through the long unmown grass, or circling with monotonous insistence round the dusty gilt horns of the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of London was like the bourdon note of a distant organ.

This one truth, that the few people you adore will die, is plenty difficult to absorb. But on top of it, someone’s brakes fail, or someone pulls the trigger or snatches the kid, or someone deeply trusted succumbs to temptation, and everything falls apart. We are hurt beyond any reasonable chance of healing. We are haunted by our failures and mortality. And yet the world keeps on spinning, and in our grief, rage, and fear a few people keep on loving us and showing up. It’s all motion and stasis, change and stagnation. Awful stuff happens and beautiful stuff happens, and it’s all part of the big picture.

now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.

While he can interact with others who have no idea that anything is wrong, Ron lives without spontaneity, going through the motions, doing what he thinks people expect him to do, glad that he is able to at least appear normal throughout the day and maintain a job. He studied drama briefly while in college, and remains enamored of Shakespeare and literature, but an emerging self-consciousness eventually robbed him of his ability to act. Now he feels as if all of his life is an act—just an attempt to maintain the status quo. Recalling literature he once loved, he sometimes pictures himself as Camus’s Meursault, in The Stranger: an emotionless character who plods through life in a meaningless universe with apathy and indifference. He’s tired of living this way but terrified of death.

There was a sudden silence from the combo in the smoke. One of the trolls picked up a small rock and started to pound it gently, producing a slow, sticky rhythm that clung to the walls like smoke. And from the smoke, Ruby emerged like a galleon out of the fog with a ridiculous feather boa around her neck. It was continental drift with words. She began to sing. The trolls stood in respectful silence. After a while Victor heard a sob. Tears were rolling down Rock's face. "What's the song about?" he whispered. Rock leaned down. "Is ancient folklorique troll song," he said. "Is about Amber and Jasper. They were—" he hesitated, and waved his hands about vaguely. "Friends. Good friends?" "I think I know what you mean," said Victor. "And one day Amber takes her troll’s dinner down to the cave and finds him—" Rock waved his hands in vague yet thoroughly descriptive motions "—with another lady troll. So she go home and get her club and come back and beat him to death, thump, thump, thump. ’Cos he was her troll and he done her wrong. Is very romantic song.

In Floral Heights and the other prosperous sections of Zenith, especially in the “young married set,” there were many women who had nothing to do. Though they had few servants, yet with gas stoves, electric ranges and dish-washers and vacuum cleaners, and tiled kitchen walls, their houses were so convenient that they had little housework, and much of their food came from bakeries and delicatessens. They had but two, one, or no children; and despite the myth that the Great War had made work respectable, their husbands objected to their “wasting time and getting a lot of crank ideas” in unpaid social work, and still more to their causing a rumor, by earning money, that they were not adequately supported. They worked perhaps two hours a day, and the rest of the time they ate chocolates, went to the motion-pictures, went window-shopping, went in gossiping twos and threes to card-parties, read magazines, thought timorously of the lovers who never appeared, and accumulated a splendid restlessness which they got rid of by nagging their husbands. The husbands nagged back.

If these Mount Everests of the financial world are going to labor and bring forth still more pictures with people being blown to bits with bazookas and automatic assault rifles with no gory detail left unexploited, if they are going to encourage anxious, ambitious actors, directors, writers and producers to continue their assault on the English language by reducing the vocabularies of their characters to half a dozen words, with one colorful but overused Anglo-Saxon verb and one unbeautiful Anglo-Saxon noun covering just about every situation, then I would like to suggest that they stop and think about this: making millions is not the whole ball game, fellows. Pride of workmanship is worth more. Artistry is worth more.

Today, as I sit looking at the tarnished old brass morning-glory horn of May’s gramophone—as brassy as May herself—I wonder whether she ever saw any of the three motion pictures inspired by this small but significant part of her life. In a way it is painful to imagine her sitting in a movie theater, watching as a private hurt of hers was laid bare, even in fictionalized, literally “whitewashed” form … and with a happy ending that likely never graced her real life. But somehow I doubt she ever saw the movie, or was aware of the revenge Maugham had taken on her. Because if she had seen it, I can’t help but envision her sitting in the theater in a righteous lather, as the lights come up and the last frame of film fades from the screen. “Jesus H. Christ on a bicycle!” I hear her cry out, indignantly. “So where the hell is my piece of the take?” The “Sadie Thompson” I knew would have sued—and won.

As Christians, I feel those of us in the creative community must seek to be more than scribes. If Diarmaid MacColloch is right in his immense history, The Reformation, we had plenty of Christian scribes on the eve of that enormous and painful upheaval. But it was the printing press that enabled the great thinkers of that time, both Reformer and Catholic, to transform our “assumptions about knowledge and originality of thought.” I suggest now that we must seize the revolutionary media of our age in the way that those earlier Christians and Catholics seized the printed book. We must truly use the realistic novel, the television drama, and the motion picture to tell the Christian story anew. It is our obligation to tell that story over and over and to use the best means that we have. In that spirit this novel was written—with the hope of exploring and celebrating the mystery of the Hypostatic Union as well as the mystery of the Incarnation—in a wholly fresh way.

Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint rumor of a title to you, Mrs. Montag), whose sole knowledge, as I say, of Hamlet was a one-page digest in a book that claimed: now at last you can read all the classics; keep up with your neighbors. Do you see? Out of the nursery into the college and back to the nursery; there’s your intellectual pattern for the past five centuries or more.” Mildred arose and began to move around the room, picking things up and putting them down. Beatty ignored her and continued: “Speed up the film, Montag, quick. Click, Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man’s mind around about so fast under the pumping hands of publishers, exploiters, broadcasters that the centrifuge flings off all unnecessary, time-wasting thought!” Mildred smoothed the bedclothes. Montag felt his heart jump and jump again as she patted his pillow. Right now she was pulling at his shoulder to try to get him to move so she could take the pillow out and fix it nicely and put it back. And perhaps cry out and stare or simply reach down her hand and say, “What’s this?” and hold up the hidden book with touching innocence. “School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?

And because they had mass, they became simpler,” said Beatty. “Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books leveled down to a sort of paste pudding norm, do you follow me?” “I think so.” Beatty peered at the smoke pattern he had put out on the air. “Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume.

...that's what we're made of, that moaning rocking fucking dick-in-cunt motion built the minutes, the hours of every day. Our bones and muscles grew into this rhythm. The Kin sold us before we could walk—baby toys. So now it's the way the earth moves under our feet, every step we take. The sun fucks us, the moon fucks us, the wind and the trees, chemistry and the Eagles, 1+1 and Jesus Christ, everything has always been about fucking, sex waiting behind every moment, ready to unravel the picture of This Is My Happy Normal Life.

Sure, some movies don’t work. Some fail in their intent. But anyone who says they hated a movie is treating a voluntarily shared human experience like a bad Red-Eye out of LAX. The departure is delayed for hours, there’s turbulence that scares even the flight attendants, the guy across from you vomits, they can’t serve any food and the booze runs out, you’re seated next to twin babies with the colic, and you land too late for your meeting in the city. You can hate that. But hating a movie misses the damn point. Would you say you hated the seventh birthday party of your girlfriend’s niece or a ball game that went eleven innings and ended 1–0? You hate cake and extra baseball for your money? Hate should be saved for fascism and steamed broccoli that’s gone cold.

Lord Henry Wotton could just catch the gleam of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and now and then the fantastic shadows of birds in flight flitted across the long tussore-silk curtains that were stretched in front of the huge window, producing a kind of momentary Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who, through the medium of an art that is necessarily immobile, seek to convey the sense of swiftness and motion.

It is the state of vibrations to which man is tuned that accounts for his soul's note. The different degrees of these notes form a variety of pitch divided by the mystics into three distinct grades. First the grade which produces power and intelligence, and may be pictured as a calm sea. Secondly, the grade of moderate activity which keeps all things in motion, and is a balance between power and weakness which may be pictured as the sea in motion. Thirdly, the grade of intense activity, which destroys everything and causes all weakness and blindness; it may be pictured as a stormy sea.

SOCIAL/GENERAL ICEBREAKERS 1. What do you think of the movie/restaurant/party? 2. Tell me about the best vacation you’ve ever taken. 3. What’s your favorite thing to do on a rainy day? 4. If you could replay any moment in your life, what would it be? 5. What one thing would you really like to own? Why? 6. Tell me about one of your favorite relatives. 7. What was it like in the town where you grew up? 8. What would you like to come back as in your next life? 9. Tell me about your kids. 10. What do you think is the perfect age? Why? 11. What is a typical day like for you? 12. Of all the places you’ve lived, tell me about the one you like the best. 13. What’s your favorite holiday? What do you enjoy about it? 14. What are some of your family traditions that you particularly enjoy? 15. Tell me about the first car you ever bought. 16. How has the Internet affected your life? 17. Who were your idols as a kid? Have they changed? 18. Describe a memorable teacher you had. 19. Tell me about a movie/book you’ve seen or read more than once. 20. What’s your favorite restaurant? Why? 21. Tell me why you were named ______. What is the origin of your last name? 22. Tell me about a place you’ve visited that you hope never to return to. get over your mom’s good intentions. 23. What’s the best surprise you’ve ever received? 24. What’s the neatest surprise you’ve ever planned and pulled off for someone else? 25. Skiing here is always challenging. What are some of your favorite places to ski? 26. Who would star as you in a movie about your life? Why that person? 27. Who is the most famous person you’ve met? 28. Tell me about some of your New Year’s resolutions. 29. What’s the most antiestablishment thing you’ve ever done? 30. Describe a costume that you wore to a party. 31. Tell me about a political position you’d like to hold. 32. What song reminds you of an incident in your life? 33. What’s the most memorable meal you’ve eaten? 34. What’s the most unforgettable coincidence you’ve experienced or heard about? 35. How are you able to tell if that melon is ripe? 36. What motion picture star would you like to interview? Why? 37. Tell me about your family. 38. What aroma brings forth a special memory? 39. Describe the scariest person you ever met. 40. What’s your favorite thing to do alone? 41. Tell me about a childhood friend who used to get you in trouble. 42. Tell me about a time when you had too much to eat or drink. 43. Describe your first away-from-home living quarters or experience. 44. Tell me about a time that you lost a job. 45. Share a memory of one of your grandparents. 46. Describe an embarrassing moment you’ve had. 47. Tell me something most people would never guess about you. 48. What would you do if you won a million dollars? 49. Describe your ideal weather and why. 50. How did you learn to ski/hang drywall/play piano?

In making practical application of the material covered in this book to everyday solutions, it will be helpful to keep the following underlying themes in mind: Peace of mind is our single goal. Forgiveness is our single function and the way to achieve our goal of peace of mind. Through forgiveness, we can learn not to judge others and to see everyone, including ourselves, as guiltless. We can let go of fear when we stop judging and stop projecting the past into the future, and live only in the now. We can learn to accept direction from our inner intuitive voice, which is our guide to knowing. After our inner voice gives us direction, it will also provide the means for accomplishing whatever is necessary. In following one’s inner guidance, it is frequently necessary to make a commitment to a specific goal even when the means for achieving it are not immediately apparent. This is a reversal of the customary logic of the world, and can be thought of as “putting the cart before the horse.” We do have a choice in determining what we perceive and the feelings we experience. Through retraining of the mind we can learn to use positive active imagination. Positive active imagination enables us to develop positive, loving motion pictures in our minds.

All ancient philosophers, poets, and moralists agree that love is a striving, an aspiration of the “lower” toward the “higher,” the “unformed” toward the “formed,” ... “appearance” towards “essence,” “ignorance” towards “knowledge,” a “mean between fullness and privation,” as Plato says in the Symposium. ... The universe is a great chain of dynamic spiritual entities, of forms of being ranging from the “prima materia” up to man—a chain in which the lower always strives for and is attracted by the higher, which never turns back but aspires upward in its turn. This process continues up to the deity, which itself does not love, but represents the eternally unmoving and unifying goal of all these aspirations of love. Too little attention has been given to the peculiar relation between this idea of love and the principle of the “agon,” the ambitious contest for the goal, which dominated Greek life in all its aspects—from the Gymnasium and the games to dialectics and the political life of the Greek city states. Even the objects try to surpass each other in a race for victory, in a cosmic “agon” for the deity. Here the prize that will crown the victor is extreme: it is a participation in the essence, knowledge, and abundance of “being.” Love is only the dynamic principle, immanent in the universe, which sets in motion this great “agon” of all things for the deity. Let us compare this with the Christian conception. In that conception there takes place what might be called a reversal in the movement of love. The Christian view boldly denies the Greek axiom that love is an aspiration of the lower towards the higher. On the contrary, now the criterion of love is that the nobler stoops to the vulgar, the healthy to the sick, the rich to the poor, the handsome to the ugly, the good and saintly to the bad and common, the Messiah to the sinners and publicans. The Christian is not afraid, like the ancient, that he might lose something by doing so, that he might impair his own nobility. He acts in the peculiarly pious conviction that through this “condescension,” through this self-abasement and “self-renunciation” he gains the highest good and becomes equal to God. ... There is no longer any “highest good” independent of and beyond the act and movement of love! Love itself is the highest of all goods! The summum bonum is no longer the value of a thing, but of an act, the value of love itself as love—not for its results and achievements. ... Thus the picture has shifted immensely. This is no longer a band of men and things that surpass each other in striving up to the deity. It is a band in which every member looks back toward those who are further removed from God and comes to resemble the deity by helping and serving them.

His existence had always been comfortable, he had always held a clear picture of himself, his duties, and his place in a world. He saw that world as a place so full of turning gears he had no hope of comprehending how things fit together, so why even try? Now things were different, however. Now he wasn’t just looking out from inside of the clockwork. Instead, he was actually seeing the final motion of the escapement—the ticking hands of the clock itself. And it was a doomsday clock. Both his feline and human instincts told him to let it be. It was not his problem, or his place to interfere. If the living world was destined to fall, let it happen, let it pass into history once and for all. Who was he to try to save it? But on the other hand, if the living world were lost, then there would never again be great cats to furjack . . . and couldn’t it be that hearing the actual ticking of the clock gave one the responsibility to stop it?

9. We Can Do Better Than Happiness. We live at a time when the search for happiness has taken center stage as never before. Books, TV shows, and websites are constantly offering pointers about how to finally achieve and sustain this elusive and sought-after state of being. If only we were happy, everything would be okay. Imagine a drug that would make you perfectly happy, but remove any interest you might have in doing anything more than simple survival. You would lead a thoroughly boring treadmill of a life, from the outside—but inside you would be blissfully happy, romping through imaginary adventures and always-successful romantic escapades. Would you take the drug? Think of Socrates, Jesus, Gandhi, Nelson Mandela. Or Michelangelo, Beethoven, Virginia Woolf. Is “happy” the first word that comes to mind when you set out to describe them? They may have been—and surely were, from time to time—but it’s not their defining characteristic. The mistake we make in putting emphasis on happiness is to forget that life is a process, defined by activity and motion, and to search instead for the one perfect state of being. There can be no such state, since change is the essence of life.

What is knowledge? it is primarily and essentially idea. What is idea? A very complicated physiological process in the brain of an animal, the result of which is the consciousness of a picture there. Clearly the relation between such a picture and something entirely different from the animal in whose brain it exists can only be a very indirect one. This is perhaps the simplest and most comprehensible way of disclosing the deep gulf between the ideal and the real. This belongs to the things of which, like the motion of the earth, we are not directly conscious; therefore the ancients did not observe it, just as they did not observe the motion of the earth. Once pointed out, on the other hand, first by Descartes, it has ever since given philosophers no rest. But after Kant had at last proved in the most thorough manner the complete diversity of the ideal and the real, it was an attempt, as bold as it was absurd, yet perfectly correctly calculated with reference to the philosophical public in Germany, and consequently crowned with brilliant results, to try to assert the absolute identity of the two by dogmatic utterances, on the strength of a pretended intellectual intuition. In truth, on the contrary, a subjective and an objective existence, a being for self and a being for others, a consciousness of one's own self, and a consciousness of other things, is given us directly, and the two are given in such a fundamentally different manner that no other difference can compare with this. About himself every one knows directly, about all others only very indirectly. This is the fact and the problem.

For example, there was a book that started out with four pictures: first there was a wind-up toy; then there was an automobile; then there was a boy riding a bicycle; then there was something else. And underneath each picture, it said "What makes it go?" I thought, I know what it is: They're going to talk about mechanics, how the springs work inside the toy; about chemistry, how the engine of an automobile works; and biology, about how the muscles work. It was the kind of thing my father would have talked about: "What makes it go? Everything goes because the sun is shining." And then we would have fun discussing it: "No, the toy goes becaues the spring is wound up, I would say. "How did the spring get would up" he would ask. "I wound it up" "And how did you get moving?" "From eating" "And food grows only because the sun is shining. So it's because the sun is shining that all these things are moving" That would get the concept across that motion is simply the transformation of the sun's power. I turned the page. The answer was, for the wind-up toy, "Energy makes it go." And for the boy on the bicycle, "Energy makes it go." For everything "Energy makes it go." Now that doesn't mean anything. Suppose it's "Wakalixes." That's the general principle: "Wakalixes makes it go." There is no knowledge coming in. The child doesn't learn anything; it's just a word What the should have done is to look at the wind-up toy, see that there are springs inside, learn about springs, learn about wheels, and never mind "energy". Later on, when the children know something about how the toy actually works, they can discuss the more general principles of energy. It is also not even true that "energy makes it go", because if it stops, you could say, "energy makes it stop" just as well. What they're talking about is concentrated energy being transformed into more dilute forms, which is a very subtle aspect of energy. Energy is neither increased nor decreased in these examples; it's just changed from one form to another. And when the things stop, the energy is changed into heat, into general chaos.

As I walked toward the front door, a little motion to the left caught my eye. Jenny Sells stood in the hallway, a silent wraith. She regarded me with luminous green eyes, like her mother’s, like the dead aunt whose namesake she was. I stopped and faced her. I’m not sure why. “You’re the wizard,” she said, quietly. “You’re Harry Dresden. I saw your picture in the newspaper, once. The Arcane.” I nodded. She studied my face for a long minute. “Are you going to help my mom?” It was a simple question. But how do you tell a child that things just aren’t that simple, that some questions don’t have simple answers—or any answer at all? I looked back into her too-knowing eyes, and then quickly away. I didn’t want her to see what sort of person I was, the things I had done. She didn’t need that. “I’m going to do everything I can to help your mom.” She nodded. “Do you promise?” I promised her. She thought that over for a moment, studying me. Then she nodded. “My daddy used to be one of the good guys, Mr. Dresden. But I don’t think that he is anymore.” Her face looked sad. It was a sweet, unaffected expression. “Are you going to kill him?” Another simple question. “I don’t want to,” I told her. “But he’s trying to kill me. I might not have any choice.” She swallowed and lifted her chin. “I loved my Aunt Jenny,” she said. Her eyes brightened with tears. “Momma won’t say, and Billy’s too little to figure it out, but I know what happened.” She turned, with more grace and dignity than I could have managed, and started to leave. Then said, quietly, “I hope you’re one of the good guys, Mr. Dresden. We really need a good guy. I hope you’ll be all right.” Then she vanished down the hall on bare, silent feet.

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.

Rubens discovered a peculiar thing: memory does not make films, it makes photographs. What he recalled from any of the women were at most a few mental photographs. He didn't recall their coherent motions; he visualized even their short gestures not in all their fluent fullness, but only in the rigidity of a single second. His erotic memory provided him with a small album of pornographic pictures but no pornographic film. And when I say an album of pictures, that is an exaggeration, for all he had was some seven or eight photographs. These photos were beautiful, they fascinated him, but their number was after all depressingly limited: seven, eight fragments of less than a second each, that's what remained in his memory of his entire erotic life, to which he had once decided to devote all his strength and talent. I see Rubens sitting at a table with his head supported on the palm of his hand, looking like Rodin's Thinker. What is he thinking about? If he has made peace with the idea that his life has narrowed down to sexual experiences and these again to only seven still pictures, seven photographs, he would at least like to hope that in some corner of his memory there may be concealed some eighth, ninth, or tenth photograph. That's why he is sitting with his head leaning on the palm of his hand. He is once again trying to evoke individual women and find some forgotten photograph for each one of them.

Two men enter the room, one old and mustached and the other young and tawny-headed, wearing sweats and a worn T-shirt. He looks like Silas, actually—god, what am I, obsessed? But there really is something of the woodsman in the younger man’s face, with his full lips, his slightly curled hair that turns like tendrils around his ears . . . I look away before studying him too closely. “All right, ladies, are we ready?” the older man says enthusiastically. There’s a loud rustling of paper as well flip the enormous sketchbooks on our easels until we find blank sheets. I draw a few soft lines on my page, unsure what— Non-Silas rips off his T-shirt, revealing lightly defined muscles on his pale chest. I raise an eyebrow just as he tugs at the waist of the sweatpants. They drop to the floor in a fluid, sweeping motion. There’s nothing underneath them. At all. My charcoal slips through my suddenly sweaty fingers. Non-Silas steps out of the puddle of his clothes and moves to the center of the room, fluorescent lights reflecting off his slick abdomen. He’s smiling as though he isn’t naked, smiling as though I didn’t somehow manage to get the seat closest to him. As if I can’t see . . . um . . . everything only a few feet from my face, making my mind clumsily spiral. I squeeze my eyes shut for a moment; he looks like Silas in the face, and because of that I keep wondering if he looks akin to Silas everywhere else. “All right, ladies, this will be a seven-minute pose. Ready?” the older man says, positioning himself behind the other empty easel. The roomful of housewives nod in one hungry motion. I quiver. “Go!” the older man says, starting the stopwatch. Non-Silas poses, something reminiscent of Michelangelo’s David, only instead of marble eyes looking into nothingness, non-Silas is staring almost straight at me. Draw. I’m supposed to be drawing. I grab a new piece of charcoal from the bottom of the easel and begin hastily making lines in my sketchbook. I can’t not look at him, or he’ll think I’m not drawing him. I glance hurriedly, trying to avoid the region my eyes continuously return to. I start to feel fluttery. How long has it been? Surely it’s been seven minutes. I try to add some tone to my drawing’s chest. I wonder what Silas’s chest looks like . . . Stop! Stop stop stop stop stop—” “Right, then!” the older man says as his stopwatch beeps loudly and the scratchy sound of charcoal on paper ends. Thank you, sir, thank you—” “Annnnd next pose!” Non-Silas turns his head away, till all I can see is his wren-colored hair and his side, including a side view of . . . how many times am I going to have to draw this man’s area? What’s worse is that he looks even more like Silas now that I can’t see his eyes. Just like Silas, I bet. My eyes linger longer than necessary now that non-Silas isn’t staring straight at me. By the end of class, I’ve drawn eight mediocre pictures of him, each one with a large white void in the crotch area. The housewives compare drawings with ravenous looks in their eyes as non-Silas tugs his pants back on and leaves the room, nodding politely. I picture him naked again. I sprint from the class, abandoning my sketches—how could I explain them to Scarlett or Silas? Stop thinking of Silas, stop thinking of Silas.

I say, it sounds like some dangerous psychotic killer wrote this, and this buttoned-down schizophrenic could probably go over the edge at any moment in the working day and stalk from office to office with an Armalite AR-180 carbine gas-operated semiautomatic. My boss just looks at me. The guy, I say, is probably at home every night with a little rattail file, filing a cross into the tip of every one of his rounds. This way, when he shows up to work one morning and pumps a round into his nagging, ineffectual, petty, whining, butt-sucking, candy-ass boss, that one round will split along the filed grooves and spread open the way a dumdum bullet flowers inside you to blow a bushel load of your stinking guts out through your spine. Picture your gut chakra opening in a slow-motion explosion of sausage-casing small intestine. My boss takes the paper out from under my nose. Go ahead, I say, read some more. No really, I say, it sounds fascinating. The work of a totally diseased mind. And I smile. The little butthole-looking edges of the hole in my cheek are the same blue-black as a dog’s gums. The skin stretched tight across the swelling around my eyes feels varnished. My boss just looks at me. Let me help you, I say. I say, the fourth rule of fight club is one fight at a time. My boss looks at the rules and then looks at me. I say, the fifth rule is no shoes, no shirts in the fight. My boss looks at the rules and looks at me. Maybe, I say, this totally diseased fuck would use an Eagle Apache carbine because an Apache takes a thirty-shot mag and only weighs nine pounds. The Armalite only takes a five-round magazine. With thirty shots, our totally fucked hero could go the length of mahogany row and take out every vice-president with a cartridge left over for each director. Tyler’s words coming out of my mouth. I used to be such a nice person. I just look at my boss. My boss has blue, blue, pale cornflower blue eyes. The J and R 68 semiautomatic carbine also takes a thirty-shot mag, and it only weighs seven pounds. My boss just looks at me. It’s scary, I say. This is probably somebody he’s known for years. Probably this guy knows all about him, where he lives, and where his wife works and his kids go to school. This is exhausting, and all of a sudden very, very boring. And why does Tyler need ten copies of the fight club rules? What I don’t have to say is I know about the leather interiors that cause birth defects. I know about the counterfeit brake linings that looked good enough to pass the purchasing agent, but fail after two thousand miles. I know about the air-conditioning rheostat that gets so hot it sets fire to the maps in your glove compartment. I know how many people burn alive because of fuel-injector flashback. I’ve seen people’s legs cut off at the knee when turbochargers start exploding and send their vanes through the firewall and into the passenger compartment. I’ve been out in the field and seen the burned-up cars and seen the reports where CAUSE OF FAILURE is recorded as "unknown.” No, I say, the paper’s not mine. I take the paper between two fingers and jerk it out of his hand. The edge must slice his thumb because his hand flies to his mouth, and he’s sucking hard, eyes wide open. I crumble the paper into a ball and toss it into the trash can next to my desk. Maybe, I say, you shouldn’t be bringing me every little piece of trash you pick up.

When he was gone the men on the bench began to laugh. One of them rose to better see the map. Es un fantasma, he said. Fantasma? Sí, sí. Claro. Cómo? Cómo? Porque el viejo está loco es como. Loco? Billy stood looking at the map. No es correcto? he said. The man threw up his hands. He said that what they beheld was but a decoration. He said that anyway it was not so much a question of a correct map but of any map at all. He said that in that country were fires and earthquakes and floods and that one needed to know the country itself and not simply the landmarks therein. Besides, he said, when had that old man last journeyed to those mountains? Or journeyed anywhere at all? His map was after all not really so much a map as a picture of a voyage. And what voyage was that? And when? Un dibujo de un viaje, he said. Un viaje pasado, un viaje antigun. He threw up one hand in dismissal. As if no more could be said. Billy looked at the other three men on the bench. They watched with a certain brightness of eye so that he wondered if he were being made a fool of. But the one seated at the right leaned forward and tapped the ash from his cigarette and addressed the man standing and said that as far as that went there were certainly other dangers to a journey than losing one's way. He said that plans were one thing and journeys another. He said it was a mistake to discount the good will inherent in the old man's desire to guide them for it too must be taken into account and would in itself lend strength and resolution to them in their journey. The man who was standing weighed these words and then erased them in the air before him with a slow fanning motion of his forefinger. He said that the jovenes could hardly be expected to apportion credence in the matter of the map. He said that in any case a bad map was worse than no map at all for it engendered in the traveler a false confidence and might easily cause him to set aside those instincts which would otherwise guide him if he would but place himself in their care. He said that to follow a false map was to invite disaster. He gestured at the sketching in the dirt. As if to invite them to behold its futility. The second man on the bench nodded his agreement in this and said that the map in question was a folly and that the dogs in the street would piss upon it. But man on the right only smiled and said that for that matter the dogs would piss upon their graves as well and how was this an argument? The man standing said that what argued for one case argued for all and that in any event our graves make no claims outside of their own simple coordinates and no advice as to how to arrive there but only the assurance that arrive we shall. It may even be that those who lie in desecrated graves-by dogs of whatever manner-could have words of a more cautionary nature and better suited to the realities of the world. At this the man at the left who'd so far not spoke at all rose laughing and gestured for the two boys to follow and they went with him out of the square and into the street leaving the disputants to their rustic parkbench tertulia.