Musical Chair Quotes

I turned in my seat. Will’s face was in shadow and I couldn’t quite make it out. ‘Just hold on. Just for a minute.’ ‘Are you all right?’ I found my gaze dropping towards his chair, afraid some part of him was pinched, or trapped, that I had got something wrong. ‘I’m fine. I just . . . ’ I could see his pale collar, his dark suit jacket a contrast against it. ‘I don’t want to go in just yet. I just want to sit and not have to think about . . . ’ He swallowed. Even in the half-dark it seemed effortful. ‘I just . . . want to be a man who has been to a concert with a girl in a red dress. Just for a few minutes more.’ I released the door handle. ‘Sure.’ I closed my eyes and lay my head against the headrest, and we sat there together for a while longer, two people lost in remembered music, half hidden in the shadow of a castle on a moonlit hill.

I wanted to tell her not to entertain despair like this. Despaire wasn't a guest, you didn't play its favorite music, find it a comfortable chair. Despair was the enemy." -white oleander

The game is an analogy for life: there are not enough chairs or good times to go around, not enough food, not enough joy, nor beds nor jobs nor laughs nor friends nor smiles nor money nor clean air to breathe...and yet the music goes on.

The library smells like old books — a thousand leather doorways into other worlds. I hear silence, like the mind of God. I feel a presence in the empty chair beside me. The librarian watches me suspiciously. But the library is a sacred place, and I sit with the patron saint of readers. Pulsing goddess light moves through me for one moment like a glimpse of eternity instantly forgotten. She is gone. I smell mold, I hear the clock ticking, I see an empty chair. Ask me now and I'll say this is just a place where you can't play music or eat. She's gone. The library sucks.

Party lights hang over the street, yellow and red and green. Sadie stumbles over someone’s chair, but I’m ready for this and I catch her easily by the arm. “Sorry, clumsy,” she says. “You always were, Sadie. One of your more endearing traits.” Before she can ask about that I slip my arm around her waist. She slips hers around mine, still looking up at me. The lights skate across her cheeks and shine in her eyes. We clasp hands, fingers folding together naturally, and for me the years fall away like a coat that’s too heavy and too tight. In that moment, I hope on thing above all others: that she was not too busy to find at least one good man … She speaks in a voice almost too low to be heard over the music. But I hear her – I always did. “Who are you, George?” “Someone you knew in another life, honey.

I missed the sound of her shuffling her homework while I listened to music on her bed. I missed the cold of her feet against my legs when she climbed into bed. I missed the shape of her shadow where it fell across the page of my book. I missed the smell of her hair and the sound of her breath and my Rilke on her nightstand and her wet towel thrown over the back of her desk chair. It felt like I should be sated after having a whole day with her, but it just made me miss her more.

When the time comes, everybody’s got to end up where they belong. Only me, I didn’t have a place to call my own. It’s like musical chairs.

Musical Chairs. Except I thought, when God's providing the music, everyone gets a chair.

Simon's band never actually produced any music. Mostly they sat around in Simon's living room, fighting about potential names and band logos. She sometimes wondered if any of them could actually play an instrument. 'What's on the table?' 'We're choosing between Sea Vegetable Conspiracy and Rock Solid Panda.' Clary shook her head. 'Those are both terrible.' 'Eric suggested Lawn Chair Crisis.' 'Maybe Eric should stick to gaming.' 'But then we'd have to find a new drummer.' 'Oh, is that what Eric does?...

I wanted to tell her not to entertain despair like this. Despair wasn't a guest, you didn't play its favourite music, find it a comfortable chair. Despair was the enemy.

There was a loud scraping noise as five chairs slid backward. The men rose as a unit. And started coming for her. She looked to the faces of the two she knew, but their grave expressions weren't encouraging. And then the knives came out. With a metallic whoosh, five black daggers were unsheathed. She backed up frantically, hands in front of herself. She slammed into a wall and was about to scream for Wrath when the men dropped down on bended knees in a circle around her. In a single movement, as if they'd been choreographed, they buried the daggers into the floor at her feet and bowed their heads. The great whoomp of sound as steel met wood seemed both a pledge and a battle cry. The handles of the knives vibrated. The rap music continued to pound. They seemed to be waiting for some kind of response from her. "Umm. Thank you," she said. The men's heads lifted. Etched into the harsh planes of their faces was total reverence. Even the scarred one had a respectful expression. And then Wrath came in with a squeeze bottle of Hershey's syrup. "Bacon's on the way." He smiled. "Hey, they like you." "And thank God for that," she murmured, looking down at the daggers.

taciturn, adj. There are days you come home silent. You say words, but you're still silent. I used to bombard you with conversational crowbars, but now I simply let the apartment fall mute. I hear you in the room -- turning on music, typing on the keys, getting up for a drink, shifting in your chair. I try to have my conversation with those sounds.

The modern job market is like a game of musical chairs. You need to be the one with a chair when the music stops, or you're out of luck.

I sat, head down, quivering furiously at their inferences of female sell-by dates and life as game of musical chairs where girls without a chair/man when the music stops/they pass thirty are 'out.' Huh. As if.

In the vast game of Darwinian musical chairs, whenever the music stopped there were large numbers of people without a seat—and some smartass had sold them guns.

Life is like playing musical chairs –– you never know when the music will stop.” ~

Wrapped up in the music, I threw myself into an overstuffed chair and let my legs dangle over the arm, the position in which Nature intended music to be listened to, and for the first time in days I felt the muscles in my neck relaxing.

Nothing is so lovely as a quietly snoring dog and some evening Brahms, as you sit in a comfortably overstuffed chair with your feet on the footstool.

That was war for you, like a game of musical chairs where seats kept disappearing until only one was left, and people rarely stopped to ask who the hell was in charge of the music.

Turning thirty is like playing musical chairs. The music stops and everyone just fucking marries whoever they happen to be sitting on.

It was as if I'd lost some cosmic game of musical chairs; the song had stopped, I was left standing, and there was simply nothing to be dine about it.

Eyyia?" said her husband, and Eliane bet Danel heard the mangling of her name as music. "You sound like a marsh frog," she said, moving to stand before his chair. By the flickering light she saw him smile. "Where have you been," she asked. "My dear. I've needed you so much." "Eyyia," he tried again, and stood up. His eyes were black hollows. They would always be hollows. He opened his arms and she moved into the space they made in the world, and laying her head against his chest she permitted herself the almost unimaginable luxury of grief.

She searched his face. "Why did you do this -- go to all this trouble, indulge in what I'm sure will prove a shockingly hideous expense? He returned he gaze steadily "You like music." It was that simple -- he let her read the truth in his eyes. Then she shivered. He reached for the shawl she'd left over her chair and held it up. She hesitated, then turned so he could drape it over her shoulders. Releasing the fine silk, he closed his hands about her shoulders; leaning closer, he murmured, "As with other pleasures, my reward is your delight.

Dating becomes a cutthroat game of musical chairs with everyone scrambling for available partners to avoid standing alone at 30 when the music stops.

like a game of musical chairs, where the chairs are rooms in this house and the music is hatred and it’s a game no one’s enjoying, but none of us can stop playing.

It's just nature," I point out, wiping my lab bench, the sweet smell of the ethanol solvent. "Put animals in a small, closed space, and the one with the sharpest nails, the pointiest teeth wins." He gins. "Or maybe it's just like musical chairs?" It's a luxury to view it so lightly. But I nod. It's best never to let them see your teeth.

You would not believe how many words there are for 'home' and what savage music there can be wrung from it.

They were walking beside the stream and the Lion went before them: and he became so beautiful, and the music so despairing, that Jill did not know which of them it was that filled her eyes with tears. Then Aslan stopped, and the children looked into the stream. And there, on the golden gravel of the bed of the stream, lay King Caspian, dead, with the water flowing over him like liquid glass. His long white beard swayed in it like water-weed. And all three stood and wept. Even the Lion wept: great lion-tears, each tear more precious than the Earth would be if it was a single solid diamond.

But she never could keep it straight. All the letters, the acronyms, the codes, the colors, changing like musical chairs, every week, every month. Games demons play. It meant nothing to her, except in a charming sort of way, as it had when Naganya wanted to play at interrogation, while the rest of them wanted chess.

If you truly loved someone and they couldn't be in your life you won't hurt them. You will pray for them. You will hope that they find their happiness and place in this world. You will want them to have the best life because love isn't about possession, fear or desperation. When you have a grasp on eternity you don't need to feel time is running out. Time is all you have. Love isn’t a game of musical chairs--grab a partner and sit down. It is a search for the right fit for your soul and life purpose. In a life that never ends you will either find the one that sees you as much as you see them, 0r who knows? Maybe, if there are such things as soulmates, God will introduce you, but keep you far enough apart, until each of you fulfill something more important for your growth or God’s plan. Regardless, when you can face eternity alone you will know what true love is and that letting go is not an insult to your soul. You can smile because the person you loved has your blessings of protection with them and God has your best interest also in mind. You will find that person to complete you because God wants you to, as much as you do.

We did musical chairs to sit with our partner. Glasses were refilled and heads bent in pairs. Looking over the table, I was suffused with affection for my friends. If you could bottle this warm feeling and turn it into words, I thought, that would be the perfect toast.

Real estate is the best investment on earth, however, when the music stops playing, which happens occasionally, don't be the one left without a chair.

Nothing fills a child with bloodlust faster than a game of musical chairs.

sweet music It beats love because there aren’t any wounds: in the morning she turns on the radio, Brahms or Ives or Stravinsky or Mozart. She boils the eggs counting the seconds out loud: 56, 57, 58…she peels the eggs, brings them to me in bed. After breakfast it’s the same chair and listen to the classical music. She’s on her first glass of scotch and her third cigarette. I tell her I must go to the racetrack. She’s been here about 2 nights and 2 days. “When will I see you again?” I ask. She suggests that might be up to me. I nod and Mozart plays.

as in musical chairs when there’s one fewer seat than there are humans who need it, but so long as the music plays the number of seats is immaterial and everyone is still in the game. You have to not stop. You have to keep moving. You have this glorious orbit and when you’re orbiting you’re impact-proof and nothing can touch you. When the planet is galloping through space and you gallop after it through light and dark with your time-drunk brain, nothing can end. There could be no end, there can be only circles.

What if we take away the cool music and the cushioned chairs? What if the screens are gone and the stage is no longer decorated? What if the air conditioning is off and the comforts are removed? Would his Word still be enough for his people to come together? At Brook Hills we decided to try to answer this question. We actually stripped away the entertainment value and invited people to come together simply to study God’s Word for hours at a time. We called it Secret Church. We set a date—one Friday night—when we would gather from six o’clock in the evening until midnight, and for six hours we would do nothing but study the Word and pray. We would interrupt the six-hour Bible study periodically to pray for our brothers and sisters around the world who are forced to gather secretly. We would also pray for ourselves, that we would learn to love the Word as they do.

While Terry joined the others in the pool, I subjected myself to a dreadful thing called musical chairs, another cruel game. There's one chair short, and when the music stops you have to run for a seat. The life lessons never stop at a children's party. The music blares. You never know when it's going to stop. You're on edge the whole game; the tension is unbearable. Everyone dances in a circle around the ring of chairs, but it's no happy dance. Everyone has his eyes on the mother over by the radio, her hand poised on the volume control. Now and then a child wrongly anticipates her and dives for a chair. He's shouted at. He jumps off the seat again. He's a wreck. The music plays on. The children's faces are contorted in terror. No one wants to be excluded. The mother taunts the children by pretending to reach for the volume. The children wish she were dead. The game is an analogy for life: there are not enough chairs or good times to go around, not enough food, not enough joy, nor beds nor jobs nor laughs nor friends nor smiles nor money nor clean air to breathe...and yet the music goes on.

Beauty in music is too often confused with something that lets the ear lie back in an easy chair. Many sounds that we are used to do not bother us, and for that reason we are inclined to call them beautiful. Frequently—possibly almost invariably—analytical and impersonal test will show that when a new or unfamiliar work is accepted as beautiful on its first hearing, its fundamental quality is one that tends to put the mind to sleep.

If music serves to convey feelings through the interaction of physical gestures and sound, the musician needs his brain state to match the emotional state he is trying to express. Although the studies haven't been performed yet, I'm willing to bet that when B.B. King is playing the blues and when he is feeling the blues, the neural signatures are very similar. (Of course there will be differences, too, and part of the scientific hurdle will be subtracting out the processes involved in issuing motor commands and listening to music, versus just sitting on a chair, head in hands, and feeling down.) And as listeners, there is every reason to believe that some of our brain states will match those of the musicians we are listening to.

I probably won’t play a song the same way tomorrow as I play it today. Only a pitchman says the same thing the same way twice, without varying a word. If music is a language, why don’t people use it with the same subtlety, nuance, and facility as they do the spoken language? Probably because they don’t verbalize with the same vocabulary and tone they once did. It has been said that a people’s character is reflected in their music. Our culture is a perfect example. If people here walk around using one-syllable words with no color, no variety, no shading, how can we expect our musical language to be any different? It’s like the emperor’s new clothes – sure they can sit and make wild noises on their synthesizers and call it music – who questions? But ask them to pull up a chair and play ‘Gal in Calico’ or Temptation,’ or even a straight dramatic version of ‘The Star-Spangled Banner’ and they can’t do it. They’re too pretentious. They can’t just play songs.

He would use a bit of string this time, and at the critical moment, when the old fool was leaning over the chair at an angle of forty-five, and trying to reach a point three inches beyond what was possible for him to reach, the string would slip, and down he would slide on to the piano, a really fine musical effect being produced by the suddenness with which his head and body struck all the notes at the same time. And Aunt Maria would say that she would not allow the children to stand round and hear such language.

I wanted to tell her not to entertain despair like this. Despair wasn’t a guest, you didn’t play its favorite music, find it a comfortable chair. Despair was the enemy.

On its own, my spirit seemed to relax, like a folding chair let out by a pool.

Yeah, I enjoy musical chairs. My furniture is deaf, so it gets rather interesting.

The whole economy suddenly felt like a game of musical chairs, and I was convinced I needed to grab a seat, any seat, as fast as I could.

Crush, Infatuation & Love are like Musical Chairs...we keep running around it until we realize that it was just one of those little feeling that kept us running around it!!

In that huge game of musical chairs, I turned round one day and found I had no place to sit. At a loss, I became a Goth—it was where people who had nowhere else to go ended up.

to lean back into it like in a chair the color of the sun as you listen to lazy piano music and the aircraft overhead are not at war. where the last drink is as good as the first and you realize that the promises you made yourself were kept. that's plenty. that last: about the promises: what's not so good is that the few friends you had are dead and they seem irreplacable. as for women, you didn't know enough early enough and you knew enough too late. and if more self-analysis is allowed: it's nice that you turned out well- honed, that you arrived late and remained generally capable. outside of that, not much to say except you can leave without regret. until then, a bit more amusement, a bit more endurance, leaning back into it. like the dog who got across the busy street: not all of it was good luck.

They were making a riotous noise, but it was much more like music - rather advanced music which you don't quite take in at the first hearing - than birds' songs ever are in our world.

It is an unimaginatively standardized background, a sluggishness, of speech and manners, a rigid ruling of the spirit by the desire to appear respectable. It is contentment...the contentment of the quiet dead, who are scornful of the living for their restless walking. It is negation canonized as the one positive virtue. It is the prohibition of happiness. It is slavery self-sought and self-defended. It is dullness made God. A savorless people, gulping tasteless food, and sitting afterward, coatless and thoughtless, in rocking chairs prickly with inane decorations, listening to mechanical music, saying mechanical things about the excellence of Ford automobiles, and viewing themselves as the greatest race in the world.

I lit a fire and sat there in my rocking chair. We lit a candle for him. It was as simple as that. I knew that what I had done may have been a catalyst in Danny's death, but I also knew that there was really nothing else I could have done. I can never really lose that feeling. I wasn't guilty, but I felt responsible in a way. It's part of what I do. Managing the band and taking care of the music is very painful at times. It's a sad story. A moment I will never forget, years I can never replace, music the world will never hear, all gone in the turning of a second.

We are all, in the last analysis, alone. And this basic state of solitude is not something we have any choice about. It is, as the poet Rilke says, "not something that one can take or leave. We are solitary. We may delude ourselves and act as though this were not so. That is all. But how much better it is to realize that we are so, yes, even to begin by assuming it. Naturally," he goes on to say, "we will turn giddy." Naturally. How one hates to think of oneself as alone. How one avoids it. It seems to imply rejection or unpopularity. An early wallflower panic still clings to the world. One will be left, one fears, sitting in a straight-backed chair alone, while the popular girls are already chosen and spinning around the dance floor with their hot-palmed partners. We seem so frightened today of being alone that we never let it happen. Even if family, friends and movies should fail, there is still the radio or the television to fill up the void. Women, who used to complain of loneliness, need never be alone any more. We can do our housework with soap-opera heroes at our side. Even day-dreaming was more creative than this; it demanded something of oneself and it fed the inner life. Now, instead of planting our solitude with our own dream blossoms, we choke the space with continuous music, chatter and companionship to which we do not even listen. It is simply there to fill the vacuum. When the noise stops there is no inner music to take its place. We must re-learn to be alone.

Heart as collapsed time, as a dug-up grave, as simple machine. Heart as big black bugs bleed blue blood. Heart as MI frozen as seen from airplane, everything still and white and beautiful. Heart as the Day the Music Died. Heart as love being made, as fucking, as a pleasantly haunted house. Heart as a dim memory of a dark room in which you’re molded wetasscracked into a beanbag chair, fumbling for wetness. Come hither. Heart as a cunt’s supposed to smell like tuna. Heart as the star of the sea. Heart as a pussy in permanent bloom. Heart as doxycycline. Heart as waxwings, as a fudge round, as the phone rings once and then stops. Heart as throw your hands in the air, throw your art at the stars, stutter and stare. Heart as a Stratocaster. Heart as Twin Reverb. Heart as I heart you so much. Heart as all that we thought we knew in the world disappears into vapor. Heart as the rest of your life times the weight of the world squared.

I am always amused by those couples, lovers and spouses who perform and ask others to perform musical chairs whenever they, by random seat selection, are separated from each other. "'Can you switch seats with me," a woman asks me, 'so I can sit with my husband?' "'How dare you? How dare you ask me to change my life for you? How imperial. How colonial.' "But, ah, here is the strange truth. Whenever I'm asked to trade seats for somebody else's love, I do. I always do.

Maybe it’s an attention-span thing. Music is now the backdrop to our lives rather than an event in itself. We put on a CD while we’re doing something else. I can’t remember the last time I put on an album and listened to it in a chair with my eyes closed.

I walked past the lady in yellow robes and the maid bringing her a letter, past the soldier with a magnificent hat and the girl smiling at him, thinking of warm lips, brown eyes, blue eyes. Her brown eyes stopped me. It's the painting from whose frame a girl looks out, ignoring her beefy music teacher, whose proprietary hand rests on her chair. The light is muted, winter light, but her face is bright. I looked into her brown eyes and I recoiled. She was warning me of something-- she had looked up from her work to warn me. Her mouth was slightly open, as if she had just drawn a breath in order to say to me, "Don't!" I moved backward, trying to get beyond the range of her urgency. But her urgency filled the corridor. "Wait," she was saying, "wait! Don't go!" ... She had changed a lot in sixteen years. She was no longer urgent. In fact, she was sad. She was young and distracted, and her teacher was bearing down on her, trying to get her to pay attention. But she was looking out, looking for someone who would see her. This time I read the title of the painting: Girl Interrupted at Her Music. Interrupted at her music.- as my life had been, interrupted in the music of being seventeen, as her life had been, snatched and fixed on canvas: one moment made to stand still and to stand for all the other moments, whatever they would be or might have been. What life can recover from that? I had something to tell her now "I see you," I said. My boyfriend found me crying in the hallway. "What's the matter with you?" he asked. "Don't you see, she's trying to get out," I said, pointing at her.

Fear of change—innate, stubborn, and resistant to reason—is a powerful force. In many ways, it reminded me of Musical Chairs: We cling as long as possible to the perceived “safe” place that we already know, refusing to loosen our grip until we feel sure another safe place awaits.

The only light was a standing lamp by his chair, near his elbow was a drink. He liked to read with the silence and the golden color of the whiskey as his companions. He liked food, people, talk, but reading was an inexhaustible pleasure. What the joys of music were to others, words on a page were to him.

On the flight over to Chicago, I thought of a story Mom had once told me from her days as a pediatric nurse. "There was this little boy I was taking care of," she said "and he was terminally ill,and we all knew it,but he kept hanging on and hanging on. He wouldn't die, it was so sad. And his parents were always there with him,giving him so much love and support,but he was in so much pain,and it really was,time for him to go. So finally some of us nurses took his father aside and we told him, 'You have to tell your son it's okay for him to go. You have to give him permission.' And so the father took his son in his arms and he sat with him in a chair and held on to him and told him over and over, that it was okay for him to go,and,well,after a few moments,his son died.

But there is an unholy fascination in systematic noise. He did not flee from it incontinently, as one might have expected him to do. He remained, astonished at himself for remaining, since nothing could have been more repulsive to his tastes, more painful to his senses, and, so to speak, more contrary to his genius, than this rude exhibition of vigour. The Zangiacomo band was not making music; it was simply murdering silence with a vulgar, ferocious energy. One felt as if witnessing a deed of violence; and that impression was so strong that it seemed marvelous to see the people sitting so quietly on their chairs, drinking so calmly out of their glasses, and giving no signs of distress, anger, or fear. Heyst averted his gaze from the unnatural spectacle of their indifference.

Again I waited - oh, but for a brief interval: I presently distinguished an extraordinary shuffling and stamping of feet on the staircase, on the floors, on the carpets; a sound not only of boots and' human shoes, but tapping of crutches, of crutches of wood, and knocking of iron crutches which clanged like cymbals. And behold, I perceived, all at once, on the door sill, an armchair, my large reading chair, which came waddling out. Right into the garden it went, followed by others, the chairs of my drawing room, then the comfortable settee, crawling like crocodiles on their short legs; next, all my chairs bounding like goats,and the small footstools which followed like rabbits. Oh, what a hideous surprise! I stepped back behind the shrubs, where I stayed, crouched and watching this procession of my furniture; for out they all came, one behind the other, quickly or slowly according to their form and weight. My piano - my large grand piano - passed at a canter like a horse, with a faint murmur of music from within; the smallest objects crawled on the gravel like ants - brushes, glasses and cups glistening in the rays of the moon with phosphorescence like glowworms. The curtains, tablecloths and, draperies wriggled along, with their feelers in the puddles like the cuttle-fish in the sea. Suddenly I beheld my pet bureau, a rare specimen of the last century, and which contained all my correspondence, all my love letters, the whole history of my heart, an old history of how much I have suffered! And within, besides, were, above all, certain photographs! ("Who Knows?")

I am always amused by those couples- lovers and spouses- who perform and ask others to perform musical chairs whenever they, by random seat selection, are separated from each other. 'Can you switch seats with me?' A woman asked me. 'So I can sit with my husband?' She wanted me, a big man, who always books early, and will gratefully pay extra for the exit row, to trade my aisle seat for her middle seat. By asking me to change my location for hers, the woman is actually saying to me: 'Dear stranger, dear Sir, my comfort is more important than yours. Dear solitary traveler, my love and fear- as contained within my marriage- are larger than yours.' O, the insult! O, the condescension! And this is not an isolated incident. I've been asked to trade seats twenty or thirty times over the years. How dare you! How dare you ask me to change my life for you! How imperial! How colonial! But, ah, here is the strange truth: whenever I'm asked to trade seats for somebody else's love, I do, I always do.

You know the people who think seeing it in a picture is like seeing it in real life? Well, it’s not. Because when you’re there, you’re not just seeing it. It’s the sounds, the smells of Paris, the way the air feels on your skin, the way the wine tastes different when you drink it from Parisian glasses while sitting in a wicker chair outside a café on a cobblestone street. You can’t re-create the hum of a foreign language being spoken over and over itself. It sounds like music. The way the sun rises and sets, the shadows on the buildings, the car horns honking in the distance. It’s all different, new, and fascinating to experience when you travel far away from home.

Despair wasn’t a guest, you didn’t play its favorite music, find it a comfortable chair. Despair was the enemy. It

I wanted to tell her not to entertain despair like this. Despair wasn't a guest, you didn't play its favorite music, find it a comfortable chair. Despair was the enemy.

How is slippery ice like music? A: If you don’t C sharp, you’ll B flat. Q: How do you make a band stand? A: Take away the chairs! Q: What’s the difference between a fish and a piano?

I wanted to tell her not to entertain despair like this. Despair wasn’t a guest, you didn’t play its favorite music, find it a comfortable chair. Despair was the enemy. It frightened me for Claire to bare her needs so openly. If a person needed something badly, it was my experience that it would surely be taken away. I didn’t need to put mirrors on the roof to know that.

Did you ever play that game as a child- the one where there's a circle of chairs, and when the music stops playing you have to find a chair to sit in? But there's never enough chairs for everyone, so one person is always left without a seat in the circle and then tossed out of the game. That's how I feel, as if I missed my chance at a chair and now I've been tossed out of the game.

The girls walked into the long, empty hall, which sent out hollow echoes when the visitors spoke. From there Mr. March led them to the music room. The only furniture in it was an old-fashioned piano with yellowed keys and a thread-bare chair in front of it. Several other rooms on the first floor were empty and dismal. Heavy silken draperies, once beautiful, but now faded and worn, hung at some of the windows. The dining room still had its walnut table, chairs, and buffet, but a built-in corner cupboard was bare. “I sold the fine old glass and china that used to be in there,” Mr. March said to Nancy in a strained voice.

This was different. It had synths droning and sending saltwater waves under my feet. It had drumbeats bursting like fireworks, rumbling the furniture out of place, and then a crazy, irregular, disharmonious, spiral crescendo of pure electric noise, like a typhoon dragging our bodies into it. It featured brass orchestras and choirs of mermaids and a piano in Iceland, all of them right there, visible, touchable, in Axton House. It shook us, fucked us, suspended us far above the reach of Help bouncing on his hind legs. It spoke of magenta sunsets and plastic patio chairs growing moss under summer storms rolling on caterpillar tracks. It sprinkled a bokeh of car lights rushing through night highways and slapped our faces like the wind at a hundred and twenty miles an hour. It pictured Niamh playing guitar, washed up naked on a beach in Fiji.

When I got to Crude Sciences at the end of the day, Dante was waiting for me at our table. This time, with no Latin book, no journal. “Hello,” he said, pulling my chair out for me. Surprised, I sat down next to him, trying not to stare at his perfectly formed arms. “Hi,” I said, with an attempt at nonchalance. “How are you?” I could feel his eyes on me. “Fine,” I said carefully, as Professor Starking handed out our lab assignments. Dante frowned. “Not very talkative today, I see.” I thrust a thermometer into the muddy water of the fish tank in front of us, which was supposed to represent an enclosed ecosystem. “So now you want to talk? Now that you’ve finished your Latin homework?” After a prolonged period of silence, he spoke. “It was research.” “Research on what?” “It doesn’t matter anymore.” I threw him a suspicious look. “Why’s that?” “Because I realized I wasn’t paying attention to the right thing.” “Which is?” I asked, looking back at the board as I smoothed out the hem of my skirt. “You.” My lips trembled as the word left his mouth. “I’m not a specimen.” “I just want to know you.” I turned to him, wanting to ask him a million questions. I settled for one. “But I can’t know anything about you?” Dante leaned back in his chair. “My favorite author is Dante, obviously,” he said, his tone mocking me. “Though I’m partial to the Russians. I’m very fond of music. All kinds, really, though I especially enjoy Mussorgsky and Stravinsky or anything involving a violin. They’re a bit dark, no? I used to like opera, but I’ve mostly grown out of it. I have a low tolerance for hot climates. I’ve never enjoyed dessert, though I once loved cherries. My favorite color is red. I often take long walks in the woods to clear my head. As a result, I have a unique knowledge of the flora and fauna of North American. And,” he said, his eyes burning through me as I pretended to focus on our lab, “I remember everything everyone has ever told me. I consider it a special talent.” Overwhelmed by the sudden influx of information, I sat there gaping, unsure of how to respond. Dante frowned. “Did I leave something out?

Why'd you quit?" "I guess I was fed up with the whole thing. But I gave it my best shot. Surprised myself, really. I learned to think about people other than me, but in the end I just got kicked around by a cop. The way I see it, sooner or later everyone returns to his post. Except yours truly. For me, it was a game of musical chairs -- there was no place I could call my own." "So what'll you do now?" The Rat toweled off his feet. "I might write a novel," he said a moment later. "What do you think?" "I think it's a great idea." The Rat nodded. "What kind of novel?" "A good novel. From where I stand, anyway. I doubt I have any special talent for writing, but if I stick with it at least I can become more enlightened. Otherwise, what's the point, right?" "Right." "So the novel will be for myself. Or maybe for the cicadas." "The cicadas?" "Yeah.

Sunk back in his chair, eyes closed, lost in the music, a number of thoughts crossed his mind — mostly having to do with himself. But the more he thought about himself, the less reality his existence seemed to have.

They're kicking us out saying it's time to close We're leaning on each other try'na beat the cold Carry your shoes and I give you my coat Walking these streets like they're paved gold Anymore excuses is not to go Neither one of us want to take that taxi home Singing our hearts, standing on chairs Spending the time like we were millionaires Laughing our heads off, the two of us stared Spending the time like we were millionaires Lost my heart and I hope to die Seeing that sunlight hit your eyes Been up all night but you still look amazing to me Half the time of the night you only dream About if God came down he could take me now Cause in my mind, yeah we will always be

Things can fall apart, or threaten to, for many reasons, and then there’s got to be a leap of faith. Ultimately, when you’re at the edge, you have to go forward or backward; if you go forward, you have to jump together. —Yo-Yo Ma

Feeding (more on this in chapter 8) Breast pump Breast pads Breast cream (Lansinoh) Breast milk containers Twin nursing pillow Boppy Formula Baby bottles (8-oz. wide neck; 16–20 bottles if you’re doing formula exclusively) Dishwasher baskets Bottle brush High chairs Booster seat Food processor or immersion blender Bottle warmer Bottle drying rack Bowls and spoons Baby food storage containers Keepsakes Baby books Thank-you notes/stationery Newspaper from birthday CD player/dock for music Twin photo albums/frames

Little Dorrit sat down in a golden chair, made quite giddy by these rapid interruptions. Her sister and the rest were a long time gone; and during their absence a voice (it appeared to be that of the gentleman with the black hair) was continually calling out through the music, 'One, two, three, four, five, six—go! One, two, three, four, five, six—go! Steady, darlings! One, two, three, four, five, six—go!' Ultimately the voice stopped, and they all came back again, more or less out of breath, folding themselves in their shawls,

I don’t know what to tell him.” The music notes return and float suspended in the air. I reach out my hand, but they dance away. “That’s what you and I are trying to figure out.” Grace starts to hum. “You know this song?” I ask and she smiles, so wide I can see her dentures shift in her mouth. “Of course I do, Jonathan. Everyone does. We’re born knowing it, but somewhere along the journey most people forget.” She leans back in the chair and closes her eyes. Starts to hum again. Soft and lilting, the music weaves around me like a blanket.

You’d better marry her before she reaches eighteen and the spell wears off,” I said. “Spell?” “Yes. The one that’s hiding her fangs and pincers from plain sight.” “I don’t find them especially hidden,” he said mildly. “Then perhaps you’re a pair.” His brows lifted. “Now, that’s the cruelest thing you’ve said so far.” Mrs. Fredericks cleared off, and Chloe took her place before the piano. A beam of sunlight was just beginning its slide into the chamber, capturing her in light. She was a glowing girl with a glowing face, and Joplin at her fingertips. “Give me time,” I muttered, dropping my gaze to my plate. “I’ll come up with something worse.” “No doubt.” Armand pulled a flask from his jacket and shook it in front of my nose. “Whiskey. Conveniently the same color as tea. Are you game, waif?” I glanced around, but no one was looking. I lifted my cup, drained it to the dregs, and set it before him. He was right. It did look like tea. But it tasted like vile burning fire, all the way down my throat. “Sip it,” he hissed, as I began to cough. His voice lifted over my sputtering. “Dear me, Miss Jones, I do beg your pardon. The tea’s rather hot; I should have mentioned it.” “Quite all right,” I gasped, as the whiskey swirled an evil amber in my teacup. Chloe’s song grew bouncier, with lyrics about a girl with strawberries in a wagon. Several of the men had begun to cluster near, drawn to her soprano or perchance her bosom. Two were vying to turn the pages of her music. She had to crane her head to keep Armand in view. He sent her another smile from his chair, lifting his cup in salute. “I’m going to kiss you, Eleanore,” he said quietly, still looking at her. “Not now. Later.” His eyes cut back to mine. “I thought it fair to tell you first.” I stilled. “If you think you can do so without me biting your lip, feel free to try.” His gaze shone wicked blue. “I don’t mind if you bite.” “Biting your lip off, I should have said.” “Ah. Let’s see how it goes, shall we?

We are souls in the flesh specters caught between the limbo of yesterday and tomorrow illusions of the present imposters in these skins I am rain blown sideways by the wind My art, my love, my hunger slows the descent I spread out like a shadow on the pavement stomped on by what is, saved by what is not but is and is not are so fickle Reality and dreams dress up as one another playing musical chairs in the mind and if you are so lucky that a dream seizes the throne and turns your mind into an imagination, do not revolt, do not resist Become your madness Become the fool

Gregori brought Savannah's hand to the warmth of his mouth,his breath heating the pulse beating in her wrist. The night is especially beautiful, mon petit amour.Your hero saved the girl, walks among humans, and converses with a fool.That alone should bring a smile to your face.Do not weep for what we cannot change.We will make certain that this human with us comes to no harm. Are you my hero,then? There were tears in her voice, in her mind, like an iridescent prism. She needed him, his comfort,his support under her terrible weight of guilt and love and loss. Always,for all eternity, he answered instantly,without hesitation, his eyes hot mercury. He tipped her chin up so that she met the brilliance of his silver gaze.Always, mon amour.His molten gaze trapped her blue one and held her enthralled. Your heart grows lighter.The burden of your sorrow becomes my own. He held her gaze captive for a few moments to ensure that she was free of the heaviness crushing her. Savannah blinked and moved a little away from him, wondering what she had been thinking of.What had they been talking about? "Gary." Gregori drawled the name slowly and sat back in his chair,totally relaxed. He looked like a sprawling tiger,dangerous and untamed. "Tell us about yourself." "I work a lot.I'm not married. I'm really not much of a people person. I'm basically a nerd." Gregori shifted, a subtle movement of muscles suggesting great power. "I am not familiar with this term." "Yeah,well,you wouldn't be," Gary said. "It means I have lots of brains and no brawn.I don't do the athlete thing. I'm into computers and chess and things requiring intellect. Women find me skinny,wimpy,and boring. Not something they would you." There was no bitterness in his voice,just a quiet acceptance of himself,his life. Gregori's white teeth flashed. "There is only one woman who matters to me, Gary, and she finds me difficult to live with.I cannot imagine why,can you?" "Maybe because you're jealous, possessive, concerned with every single detail of her life?" Gary plainly took the question literally, offering up his observations without judgement. "You're probably domineering,too. I can see that. Yeah.It might be tough." Savannah burst out laughing, the sound musical, rivaling the street musicians. People within hearing turned their heads and held their breath, hoping for more. "Very astute, Gary.Very, very astute. I bet you have an anormous IQ." Gregori stirred again, the movement a ripple of power,of danger. He was suddenly leaning into Gary. "You think you are intelligent? Baiting the wild animal is not too smart.

Dating for me in my twenties was like this musical-chairs thing. Everybody was running around and having fun. Then I hit thirty and it was like the music stopped and everybody started sitting down. I didn’t want to be the only one left without a chair. Sometimes I think I married my husband just because he was the closest chair to me at thirty. Sometimes I think I should have just waited for someone who might be a better partner, and maybe I should have, but that seemed risky. What I really wish I’d done is thought more about marriage sooner. Like when I was in my twenties.

Dave and Serge...played the Fiddler's Elbow as if it were Giants Stadium, and even though it was acoustic, they just about blew the place up. They were standing on chairs adn lying on the floor, they were funny, they charmed everyone in the pub apart from an old drunk ditting next to the drum kit...who put his fingers firmly in his ears during Serge's extended harmonica solo. It was utterly bizarre and very moving: most musicians wouldn't have bothered turning up, let alone almost killing themselves. And I was reminded...how rarely one feels included in a live show. Usually you watch, and listen, and drift off, and the band plays well or doesn't and it doesn't matter much either way. It can actually be a very lonely experience. But I felt a part of the music, and a part of the people I'd gone with, and, to cut this short before the encores, I didn't want to read for about a fortnight afterward. I wanted to write, but I didn't want to read no book. I was too itchy, too energized, and if young people feel like that every night of the week, then, yes, literature 's dead as a dodo. (Nick's thoughts after seeing Marah at a little pub called Fiddler's Elbow.)

The parrot sat on the back of a chair across from me. Suddenly he climbed down and walked across the table between the ashtrays and empty bottles and climbed up on my shoulder. “Don’t say that thing,” I told him, “it’s very irritating to me when you say that thing.” “Fuckin’ whore,” said the parrot.

A knowledge of the human physique is considered essential in designing a chair, but a knowledge of human psychology is rarely considered useful, never mind a requirement, when someone is asked to design a pension scheme, a portable music player or a railway. Who is the Herman Miller of pensions, or the Steve Jobs of tax-return design? These people are starting to emerge – but it has been a painfully long wait. If there is a mystery at the heart of this book, it is why psychology has been so peculiarly uninfluential in business and in policy-making when, whether done well or badly, it makes a spectacular difference.

Something her father always used to say popped into her head. God hates a coward, Ruby. She tossed her hair over her shoulder and met his stare head-on. “Since you bought me an alcoholic beverage and I’m planning on kissing you, then yes. I’d say this qualifies as a date.” His gaze dropped to her mouth, and she couldn’t stop herself from biting her bottom lip. If the music wasn’t so loud, she knew she would have heard him groan. “Sorry. I can’t kiss you.” Heat suffusing her face, Ruby pushed her chair back and stood. “No kissing, no fun, no gambling. I’m starting to forget why I found you interesting.” Before she could blink, he moved to stand behind her. On either side of her, he laid his hands on the table, effectively blocking her escape. When he spoke, she felt his every word against her neck. “I just watched you bend over a pool table in those ridiculously tight jeans. Over. And over. You think I could stop at kissing?

All right, Simon," Gina said, lowering herself into one of the hard plastic chairs that littered the food court. "What were you up to while I was coordinating Ms. Webb's spring wardrobe?" I held up my bag from Music Town. "I bought a CD," I said lamely. Gina, appalled, echoed, "A what?" "A CD." I hadn't even wanted to buy one, but sent out into the wilds of the mall with instructions to return with a new purchase, I had panicked and headed into the first store I saw. "You know malls give me sensory overload," I said, by way of explanation. Gina shook her head at me, her copper curls swaying. "You can't really get mad at her," she said to Adam. "She's just so cute.

The air is heavy, sweet with perfume, stirred only by a scratchy music that soars and glides and stuns itself against the walls. Large leaded windows look out over the garden at the rear of the house, gray clouds piling up beyond a cupola. Chairs and chaise longues have been gathered around the fire, young women draped over them like wilted orchids, smoking cigarettes and clinging to their drinks. The mood in the room is one of restless agitation rather than celebration. About the only sign of life comes from an oil painting on the far wall, where an old woman with coals for eyes sits in judgment of the room, her expression conveying her distaste for this gathering.

While I’m spreading butter, I think about how I like the noise in Rose’s house, lines of music, threaded and knotted over the top of one another. Knives hitting plates, chairs scraping floor, kids screaming, her dad’s slippers shuffling his solo, “Can’t a Man Get Any Sleep Around Here?” Mixed together it sounds like a little kitchen symphony.

School teaches us that life is a game to win against our peers. We’re graded on a uniform scale no matter our background, our strengths and weaknesses, or our future goals. Sometimes we’re even graded on a curve relative to our peers. This inane, pointless system of competition is baked into the twentieth-century educational model. We’re taught that life is a game of musical chairs and that if we don’t hustle, we’re going to be left standing without a seat. This in-it-to-win-it mentality is the polar opposite of a creative mindset, which is abundant, resilient, and full of potential. Aiming to be “better” is a dead end because it means you’re walking in someone else’s footsteps and trying to catch up.

The band in the ballroom announced the cover of a special request, and after a pause, the woman's voice sang out the breathy first line of Etta James's "At Last." Chairs barked as guests rose to greet the champion of all wedding songs, the one that always brought indifferent or fighting or estranged couples to the dance floor for momentary reconciliation.

and at the critical moment, when the old fool was leaning over the chair at an angle of forty-five, and trying to reach a point three inches beyond what was possible for him to reach, the string would slip, and down he would slide on to the piano, a really fine musical effect being produced by the suddenness with which his head and body struck all the notes at the same time.

Now Miss Mapp's social dictatorship among the ladies of Tilling had long been paramount, but every now and then signs of rebellious upheavals showed themselves. By virtue of her commanding personality these had never assumed really serious proportions, for Diva, who was generally the leader in these uprisings, had not the same moral massiveness. But now when Elizabeth was so exceedingly superior, the fumes of Bolshevism mounted swiftly to Diva's head. Moreover, the sight of this puzzling male impersonator, old, wrinkled, and moustached, had kindled to a greater heat her desire to know her and learn what it felt like to be Romeo on the music-hall stage and, after years of that delirious existence, to subside into a bath-chair and Suntrap and Tilling. What a wonderful life! . . . And behind all this there was a vague notion that Elizabeth had got her information in some clandestine manner and had muddled it. For all her clear-headedness and force Elizabeth did sometimes make a muddle and it would be sweeter than honey and the honeycomb to catch her out. So in a state of brooding resentment Diva went home to lunch and concentrated on how to get even with Elizabeth.

Her mother, an unshapely, chubby-cheeked creature from the rural gentry of Styria, permanently lost her hair at the age of forty after being treated for influenza by her husband, and prematurely withdrew from society. She and her husband were able to live in the Gentzgasse thanks to her mother's fortune, which derived from the family estates in Styria and then devolved upon her. She provided for everything, since her husband earned nothing as a doctor. He was a socialite, what is known as a beau, who went to all the big Viennese balls during the carnival season and throughout his life was able to conceal his stupidity behind a pleasingly slim exterior. Throughout her life Auersberger's mother-in-law had a raw deal from her husband, but was content to accept her modest social station, not that of a member of the nobility, but one that was thoroughly petit bourgeois. Her son-in-law, as I suddenly recalled, sitting in the wing chair, made a point of hiding her wig from time to time--whenever the mood took him--both in the Gentzgasse and at the Maria Zaal in Styria, so that the poor woman was unable to leave the house. It used to amuse him, after he had hidden her wig, to drive his mother-in-law up the wall, as they say. Even when he was going on forty he used to hide her wigs--by that time she has provided herself with several--which was a symptom of his sickness and infantility. I often witnessed this game of hide-and-seek at Maria Zaal and in the Gentzgasse, and I honestly have to say that I was amused by it and did not feel in the least bit ashamed of myself. His mother-in-law would be forced to stay at home because her son-in-law had hidden her wigs, and this was especially likely to happen on public holidays. In the end he would throw the wig in her face. He needed his mother-in-law's humiliation, I reflected, sitting in the wing chair and observing him in the background of the music room, just as he needed the triumph that this diabolical behavior brought him.

The tattoo shop is small, dark, and dingy. The sounds of rock music and the high-pitched buzzing of tattoo guns echo through the air. Portraits of naked women, anchors, skulls, and flowers cover the walls. I picture Henry here, pointing to one of the designs and sitting in one of these chairs. I still haven’t been able to get a good look at the tattoo on his bicep, and I hate that I’m so curious about it.

Yvette is a woman who looks like a church bell. Her copper body curves with purpose, angles on a chair as if from a tower overlooking a village by the sea. Her bones are strong everywhere, in her cheeks, her shoulders, her hands. They are made from something more durable like iron or brass. When she smiles, it is as if a bell has been struck, as if music has entered the world the way God intended: at noon by the sea.

In the city I never hid in bathrooms; I didn’t like them, they were too hard and white. The only city place I can remember hiding is behind opened doors at birthday parties. I despised them, the pew-purple velvet dresses with antimacassar lace collars and the presents, voices going Oooo with envy when they were opened, and the pointless games, finding a thimble or memorizing clutter on a tray. There were only two things you could be, a winner or a loser; the mothers tried to rig it so everyone got a prize, but they couldn’t figure out what to do about me since I wouldn’t play. At first I ran away, but after that my mother said I had to go, I had to learn to be polite; “civilized,” she called it. So I watched from behind the door. When I finally joined in a game of Musical Chairs I was welcomed with triumph, like a religious convert or a political defector.

The moon had risen higher and the moonlight was bright in the little open place. All around it the shadows were dark among the trees. “After a long while, a doe and her yearling fawn came stepping daintily out of the shadows. They were not afraid at all. They walked over to the place where I had sprinkled the salt, and they both licked up a little of it. “Then they raised their heads and looked at each other. The fawn stepped over and stood beside the doe. They stood there together, looking at the woods and the moonlight. Their large eyes were shining and soft. “I just sat there looking at them, until they walked away among the shadows. Then I climbed down out of the tree and came home.” Laura whispered in his ear, “I’m glad you didn’t shoot them!” Mary said, “We can eat bread and butter.” Pa lifted Mary up out of her chair and hugged them both together. “You’re my good girls,” he said. “And now it’s bedtime. Run along, while I get my fiddle.” When Laura and Mary had said their prayers and were tucked snugly under the trundle bed’s covers, Pa was sitting in the firelight with the fiddle. Ma had blown out the lamp because she did not need its light. On the other side of the hearth she was swaying gently in her rocking chair and her knitting needles flashed in and out above the sock she was knitting. The long winter evenings of fire-light and music had come again.

Later that day, Kestrel sat with Arin in the music room. She played her tiles: a pair of wolves and three mice. Arin turned his over with a resigned sigh. He didn’t have a bad set, but it wasn’t good enough, and beneath his usual level of skill. He stiffened in his chair as if physically bracing himself for her question. Kestrel studied his tiles. She was certain he could have done better than a pair of wasps. She thought of the tiles he had shown earlier in the game, and the careless way in which he had discarded others. If she didn’t know how little he liked to lose against her, she would have suspected him of throwing the game. She said, “You seem distracted.” “Is that your question? Are you asking me why I am distracted?” “So you admit that you are distracted.” “You are a fiend,” he said, echoing Ronan’s words during the match at Faris’s garden party. Then, apparently annoyed at his own words, he said, “Ask your question.

The first problem I had with conducting was coming out on stage and turning my back on the audience. It was an utterly foreign sensation. I always felt as if my rear end were hanging out. That particular portion of my anatomy suddenly seemed enormous, living a life of its own, engaged in its own relationship with the public behind my back. For the first couple of years I conducted, I sat on a chair in front of the orchestra, to help quell that particular discomfort.

Becca shoved out of the chair and tucked her hair behind her ears. She should never have come here. “Forget it.” She felt Chris behind her when she made it to the stairs. “Wait a minute,” he said. She didn’t. “Whatever your mess is with that guy Tyler, get me out of it, okay?” “Stop. Wait. Just tell me—” “You stop.” She whirled on him at the door. “You, Chris. You stop. I get hassled enough. I need my job. I don’t need to be in the middle of some version of West Side Story meets High School Musical.

Hello,” said a quiet, musical voice. I looked up, stunned that he was speaking to me. He was sitting as far away from me as the desk allowed, but his chair was angled toward me. His hair was dripping wet, disheveled—even so, he looked like he’d just finished shooting a commercial for hair gel. His dazzling face was friendly, open, a slight smile on his flawless lips. But his eyes were careful. “My name is Edward Cullen,” he continued. “I didn’t have a chance to introduce myself last week. You must be Bella Swan.

neuroscientists monitored guitarists playing a short melody together, they found that patterns in the guitarists’ brain activity became synchronized. Similarly, studies of choir singers have shown that singing aligns performers’ heart rates. Music seems to create a sense of unity on a physiological level. Scientists call this phenomenon synchrony and have found that it can elicit some surprising behaviors. In studies where people sang or moved in a coordinated way with others, researchers found that subjects were significantly more likely to help out a partner with their workload or sacrifice their own gain for the benefit of the group. And when participants rocked in chairs at the same tempo, they performed better on a cooperative task than those who rocked at different rhythms. Synchrony shifts our focus away from our own needs toward the needs of the group. In large social gatherings, this can give rise to a euphoric feeling of oneness—dubbed “collective effervescence” by French sociologist Émile Durkheim—which elicits a blissful, selfless absorption within a community.

There is another system, more beaded than weather or murder, that is moving up into the province. As Les leaves the chair to investigate his son’s crying a thousand zombies form an alliterative fog around Lake Scugog and beyond, mouthing the words Helen, hello, help. This fog predominates the region; however, other systems compete, bursting and winding with vowels braiding into dipthongs so long that they dissipate across a thousand panting lips. In the suburbs of Barrie, for instance, an alliteration that began with the wail of a cat in heat picked up the consonant “Guh” from a fisherman caught in surprise on Lake Simcoe. The echoing coves of the lake added a sort of meter, and by the time these sounds arrived in Gravenhurst, the people there were certain that a musical was blaring from speakers in the woods. All across the province, zombies, like extras in a crowd scene, imitate a thousand conversations. They open and close their mouths on things and sound is a heavy carpet of mumbling, a pre-production monstrosity. In minutes the Pontypool fog will march on the town of Sunderland and over the barriers south of Lindsay.

Our Victrola stood in the diningroom. I was allowed to climb onto the seat of a diningroom chair to wind it, start the record turning, and set the needle playing. In a second I'd jumped to the floor, to spin or march around the room as the music called for - now there were all the other records I could play too. I skinned back onto the chair just in time to lift the needle at the end, stop the record and turn it over, then change the needle. Winding up, dancing, being cocked to start and stop the record, was of course, all in one the act of listening. Movement must be at the very heart of listening.

There were, inevitably, children’s clothing stores, furniture shops still offering bedroom sets by layaway, and dollar stores whose awnings teemed with suspended inflatable dolls, beach chairs, laundry carts, and other impulse purchases a mom might make on a Saturday afternoon, exhausted by errand running with her kids. There was the sneaker store where Olga used to buy her cute kicks, the fruit store Prieto had worked at in high school, the little storefront that sold the kind of old-lady bras Abuelita used to wear. On the sidewalks, the Mexican women began to set up their snack stands. Mango with lime and chili on this corner, tamales on that. Until the Mexicans had come to Sunset Park, Olga had never tried any of this food, and now she always tried to leave a little room to grab a snack on her way home. Despite the relatively early hour, most of the shops were open, music blasting into the streets, granting the avenue the aura of a party. In a few more hours, cars with their stereos pumping, teens with boom boxes en route to the neighborhood’s public pool, and laughing children darting in front of their mothers would add to the cacophony that Olga had grown to think of as the sound of a Saturday.

Miss Mackintosh waved her arms wildly. "Oh, please stop, and let me guess," she cried. "I shall go crazy with joy if I'm right. It was an old Peerage, and so she found that Lady Deal was Helena Herman--" "Whom she had seen ten years ago at a music hall as a male impersonator," cried Diva. "And didn't want to know her," interrupted Miss Mackintosh. "Yes, that's it, but that is not all. I hope you won't mind, but it's too rich. She saw you this morning coming out of your house in your bath-chair, and was quite sure that you were that Lady Deal." The three ladies rocked with laughter. Sometimes one recovered, and sometimes two, but they were re-infected by the third, and so they went on, solo and chorus, and duet and chorus, till exhaustion set in. "But there's still a mystery," said Diva at length, wiping her eyes. "Why did the Peerage say that Lady Deal was Helena Herman?" "Oh, that's the last Lady Deal," said Miss Mackintosh. "Helena Herman's Lord Deal died without children and Florence's Lord Deal, my Lady Deal, succeeded. Cousins." "If that isn't a lesson for Elizabeth Mapp," said Diva. "Better go to the expense of a new Peerage than make such a muddle. But what a long call we've made. We must go.

Best friends forever. They’d believed it would last, that vow, that someday they’d be old women, sitting in their rocking chairs on a creaking deck, talking about the times of their lives, and laughing. Now she knew better, of course. For more than a year she’d been telling herself it was okay, that she could go on without a best friend. Sometimes she even believed it. Then she would hear the music. Their music. “Goodbye Yellow Brick Road.” “Material Girl.” “Bohemian Rhapsody.” “Purple Rain.” Yesterday, while she’d been shopping, a bad Muzak version of “You’ve Got a Friend” had made her cry, right there next to the radishes.

The great ones, however, never get lost in those distractions. Biggie in particular was legendary for his ability to stay focused. There could be all sorts of things going on—drinks being passed, blunts being rolled, people trying to holler at him about various projects—but he’d just sit in a chair with his eyes closed, seemingly oblivious to all the chaos around him. That was his way of connecting to the stillness inside of him, so that when it was time to get behind the microphone, he wasn’t caught up in worrying about how his last record did or how this one might be received once it was released. No, when it was time to make a song, he was always able to connect with both the music he was hearing in his headphones and the poetry that was filling up his heart. The same way today artists like Jay Z or Lil Wayne are able to create entire songs without ever putting a word down on paper. Through being able to connect completely with the music, they are able to operate from that “zone” that the great ones are able to access. That might not sound like a big deal, but I’ve seen so many artists get sidetracked by those distractions. And when it’s time for them to get in the recording booth and execute their craft, their mind is somewhere else. Sure, they’re rapping along to the beat, but they’re not connected to it.

To be watched made her uneasy, as though she had to compete with every other person he might gaze upon, and she had known for quite some time that competing was not what she did best. Even as a child this had been true; the game of musical chairs had filled her with panic — that dreadful, icy knowledge that when the music stopped someone would be out. It was better when she stopped trying, because there were so many things a young person was required to endure: spelling bees, endless games in gym class; in all these things she had stopped trying, or if she tried, she did so with little expectation of herself, so was not disappointed to misspell “glacier” in a fourth-grade spelling bee, or to strike out in softball because she never swung the bat. It became a habit, not trying, and in junior high, when the biggest prize of course was to be popular among the right friends, Amy found she lacked the fortitude once more to get in there and swing. Arriving at the point where she felt almost invisible, she was aware that her solitude was something she might have brought upon herself. But here was Mr. Robertson and she was not invisible to him. Not when he looked at her like that—she couldn't be. (Still, there was her inner tendency to flee, the recrudescence of self-doubt.) But his hand came forward and touched her elbow.

- Brother Jimmy, said Joey the Lips. - I'm worried. - About Dean. - Wha' abou' Dean? - He told me he's been listening to jazz. - What's wrong with tha'? Jimmy wanted to know. - Everything, said Joey the Lips. - Jazz is the antithesis of soul. - I beg your fuckin' pardon! - I'll go along with Joey there, said Mickah. - See, said Joey the Lips. - Soul is the people's music. Ordinary people making music for ordinary people. - Simple music. Any Brother can play it. The Motown sound, it's simple. Thump-thump-thump-thump. - That's straight time. Thump-thump-thump-thump. - See? Soul is democratic, Jimmy. Anyone with a bin lid can play it. - It's the people's music. - Yeh don't need anny honours in your Inter to play soul, isn't tha' wha' you're gettin' at, Joey? - That's right, brother Michael. - Mickah. - Brother Mickah. That's right. You don't need a doctorate to be a doctor of soul. - Nice one. - An' what's wrong with jazz? Jimmy asked. - Intellectual music, said Joey the Lips. - It's anti-people music. It's abstract. - It's cold an' emotionless, amn't I righ'? said Mickah. - You are. - It's got no soul. It is sound for the sake of sound. It has no meaning. - It's musical wanking, Brother. - Musical wankin', said Mickah. - That's good. - Here, yeh could play tha' at the Christmas parties. - Instead o' musical chairs.

You have asked too many questions. If you want more, you will have to win them.” He showed no sign of distraction now. As they played, he ignored her attempts to provoke him or make him laugh. “I’ve seen your tricks on others,” he said. “They won’t work with me.” He won. Kestrel waited, nervous, and wondered if the way she felt was how he felt when he lost. His voice came haltingly. “Will you play for me?” “Play for you?” Arin winced. In a more determined tone, he said, “Yes. Something I choose.” “I don’t mind. It’s only…people rarely ask.” He stood from the table, searched the shelves along the wall, and returned with a sheaf of sheet music. She took it. “It’s for the flute,” he said. “It will probably take you time to transpose it for the piano. I can wait. Maybe after our next game--” She fanned the paper impatiently to silence him. “It’s not that hard.” He nodded, then sat in the chair farthest away from the piano, by the glass garden doors. Kestrel was glad for his distance. She settled on the piano’s bench, flipping through the sheet music. The title and notations were in Herrani, the page yellow with age. She propped the paper on the piano’s rack, taking more time than necessary to neaten the sheets. Excitement coursed through her fingers as if she had already plunged her hands into the music, but that feeling was edged with a metallic lace of fear.

How long have you known about him?” I asked Jesse, using my free hand to gesture toward his guest. “Forever. Nearly as long as I did about you.” “God, Jesse. Why didn’t you say anything?” “He was a shadow of you.” Jesse shrugged. “His background is diluted, his dragon blood les strong. Even with you in his proximity, I wasn’t certain any of his drakon traits would emerge. He hasn’t anywhere near your potential.” “Pardon me,” Armand said, freezingly polite, “but he is still right here with you in this room.” “Do you mean…I did it?” I asked. “I made him figure it out? What he is?” Jesse gave me an assessing look. “Like is drawn to like. We’re all three of us thick with magic now, even if it’s different kinds. It’s inevitable that we’ll feed off one another. The only way to prevent that would be to separate. And even then it might not be enough. Too much has already begun.” “I don’t want to separate from you,” I said. “No.” Jesse lifted our hands and gave mine a kiss. “Don’t worry about that.” Armand practically rolled his eyes. “If you two are quite done, might we talk some sense tonight? It’s late, I’m tired, and your ruddy chair, Holms, is about as comfortable as sitting on a tack. I want to…” But his voice only faded into silence. He closed his eyes and raised a hand to his face and squeezed the bridge of his nose. I noted again those shining nails. The elegance of his bones beneath his flawless skin. Skin that was marble-pale, I realized. Just like mine. “Yes?” I said, more gently than I’d intended. “Excuse me. I’m finding this all a bit…impossible to process. I’m beginning to believe that this is the most profoundly unpleasant dream I’ve ever been caught in.” “Allow me to assure you that you’re awake, Lord Armand,” I retorted, all gentleness gone. “To wit: You hear music no one else does. Distinctive music from gemstones and all sorts of metals. That day I played the piano at Tranquility, I was playing your father’s ruby song, one you must have heard exactly as I did. Exactly as your mother would have. You also have, perhaps, something like a voice inside you. Something specific and base, stronger than instinct, hopeless to ignore. Animals distrust you. You might even dream of smoke or flying.” He dropped his arm. “You got that from the diary.” “No, I got that from my own life. And damned lucky you are to have been brought into this world as a pampered little prince instead of spending your childhood being like this and still having to fend for yourself, as I did.” “Right. Lucky me.” Armand looked at Jesse, his eyes glittering. “And what are you? Another dragon? A gargoyle, perchance, or a werecat?” “Jesse is a star.” The hand went up to conceal his face again. “Of course he is. The. Most. Unpleasant. Dream. Ever.” I separated my hand from Jesse’s, angling for more bread. “I think you’re going to have to show him.” “Aye.” A single blue eye blinked open between Armand’s fingers. “Show me what?

The library smells like old books—a thousand leather doorways into other worlds.” Mr. Brown paused and glanced up at the room, but especially at James for one moment. “I hear silence, like the mind of God. I feel a presence in the empty chair beside me. The librarian watches me suspiciously. But the library is a sacred place, and I sit with the patron saint of readers.” Mr. Brown paused as he stared at the page, and then read, “Pulsing goddess light moves through me for one moment like—” Here Mr. Brown paused again. “Like a glimpse of eternity instantly forgotten. She is gone. I smell mold, I hear the clock ticking, I see an empty chair. Ask me now and I’ll say this is just a place where you can’t play music or eat. She’s gone. The library sucks.

Very carefully he put up his hands and took off his hat saying CHIEF and while everyone watched he walked slowly down the steps and over to the fire engine and set his hat down on the front seat. Then he bent down, searching thoughtfully, and finally, while everyone watched, he took up a rock. In complete silence he turned slowly and then raised his arm and smashed the rock through one of the great tall windows of our mother's drawing room. A wall of laughter rose and grew behind him and then, first the boys on the steps and then the other men and at last the women and the smaller children, they moved like a wave at our house... I heard Constance's harp go over with a musical cry, and a sound which I knew was a chair being smashed against the wall.

Why did I obsess over people like this? Was it normal to fixate on strangers in this particular vivid, fevered way? I don't think so. It was impossible to imagine some random passer-by on the street forming quite such interest in me. And yet it was the main reason I'd gone in those houses with Tom: I was fascinated by strangers, wanted to know what food they ate and what dishes they ate from, what movies they watched and what music they listened to, wanted to look under their beds and in their secret drawers and night tables and inside the pockets of their coats. Often I saw interesting-looking people on the street and thought about them restlessly for days, imagining their lives, making up stories about them the subway or the crosstown bus. Years had passed, and I still hadn't stopped thinking about the dark-haired children in Catholic school uniforms - brother and sister - I'd seen in Grand Central, literally trying to pull their father out the door of a seedy bar by the sleeves of his suit jacket. Nor had I forgotten the frail, gypsyish girl in a wheelchair out in front of the Carlyle Hotel, talking breathlessly in Italian to the fluffy dog in her lap while a sharp character in sunglasses (father? bodyguard?) stood behind her chair, apparently conducting some sort of business deal on his phone. For years, I'd turned those strangers over in my mind, wondering who they were and what their lives were like, and I knew I would go home and wonder about this girl and her grandfather the same way.

Many people have impressive record libraries, full of the most exquisite music ever produced, yet they fail to enjoy it. They listen a few times to their recording equipment, marveling at the clarity of the sound it produces, and then forget to listen again until it is time to purchase a more advanced system. Those who make the most of the potential for enjoyment inherent in music, on the other hand, have strategies for turning the experience into flow. They begin by setting aside specific hours for listening. When the time comes, they deepen concentration by dousing the lights, by sitting in a favorite chair, or by following some other ritual that will focus attention. They plan carefully the selection to be played, and formulate specific goals for the session to come.

Later that day, Kestrel sat with Arin in the music room. She played her tiles: a pair of wolves and three mice. Arin turned his over with a resigned sigh. He didn’t have a bad set, but it wasn’t good enough, and beneath his usual level of skill. He stiffened in his chair as if physically bracing himself for her question. Kestrel studied his tiles. She was certain he could have done better than a pair of wasps. She thought of the tiles he had shown earlier in the game, and the careless way in which he had discarded others. If she didn’t know how little he liked to lose against her, she would have suspected him of throwing the game. She said, “You seem distracted.” “Is that your question? Are you asking me why I am distracted?” “So you admit that you are distracted.” “You are a fiend,” he said, echoing Ronan’s words during the match at Faris’s garden party. Then, apparently annoyed at his own words, he said, “Ask your question.” She could have pressed the issue, but his distraction was a less interesting mystery compared to one growing in her mind. She didn’t think Arin was who he appeared to be. He had the body of someone born into hard work, yet he knew how to play a Valorian game, and play it well. He spoke her language like someone who had studied it carefully. He knew--or pretended to know--the habits of a Herrani lady and the order of her rooms. He had been relaxed and adept around her stallion, and while that might not mean anything--he had not ridden Javelin--Kestrel knew that horsemanship among the Herrani before the war had been a mark of high class. Kestrel though that Arin was someone who had fallen far.

He considered for a moment, then started to play a piece that was very familiar to Ruth, although she had no idea what it was. It was lilting and wistful, and she could have sung the melody if she had wished. 'Alright?' He raised his eyebrows inquiringly. 'Yes. Exactly.' It was effortless and perfect, and he played it through to the end, closing with the softest and most delicate chords, which hung and faded in the quiet hall like the grains of dust raining through the evening light. Ruth was touched. It was all she had wanted. He did not move until there was complete silence again, then he closed the lid without saying anything, and stood up, shoving back the chair. ... 'What was that piece?' 'A Brahms waltz.' 'Hasn't it got a name?' she wanted it to remember. 'Number fifteen. Opus thirty-nine.' It hadn't sounded like numbers to Ruth.

Arin said, “If I win, I will ask a question, and you will answer.” She felt a nervous flutter. “I could lie. People lie.” “I’m willing to risk it.” “If those are your stakes, then I assume my prize would be the same.” “If you win.” She still could not quite agree. “Questions and answers are highly irregular stakes in Bite and Sting,” she said irritably. “Whereas matches make the perfect ante, and are so exciting to win and lose.” “Fine.” Kestrel tossed the box to the carpet, where it landed with a muffled sound. Arin didn’t look satisfied or amused or anything at all. He simply drew his hand. She did the same. They played in intent concentration, and Kestrel was determined to win. She didn’t. “I want to know,” Arin said, “why you are not already a soldier.” Kestrel couldn’t have said what she had thought he would ask, but this was not it, and the question recalled years of arguments she would rather forget. She was curt. “I’m seventeen. I’m not yet required by law to enlist or marry.” He settled back in his chair, toying with one of his winning pieces. He tapped a thin side against the table, spun the tile in his fingers, and tapped another side. “That’s not a full answer.” “I don’t think we specified how short or long these answers should be. Let’s play again.” “If you win, will you be satisfied with the kind of answer you have given me?” Slowly, she said, “The military is my father’s life. Not mine. I’m not even a skilled fighter.” “Really?” His surprise seemed genuine. “Oh, I pass muster. I can defend myself as well as most Valorians, but I’m not good at combat. I know what it’s like to be good at something.” Arin glanced again at the piano. “There is also my music,” Kestrel acknowledged. “A piano is not very portable. I could hardly take it with me if I were sent into battle.” “Playing music is for slaves,” Arin said. “Like cooking or cleaning.” Kestrel heard anger in his words, buried like bedrock under the careless ripple of his voice. “It wasn’t always like that.” Arin was silent, and even though Kestrel had initially tried to answer his question in the briefest of ways, she felt compelled to explain the final reason behind her resistance to the general. “Also…I don’t want to kill.” Arin frowned at this, so Kestrel laughed to make light of the conversation. “I drive my father mad. Yet don’t all daughters? So we’ve made a truce. I have agreed that, in the spring, I will either enlist or marry.” He stopped spinning the tile in his fingers. “You’ll marry, then.” “Yes. But at least I will have six months of peace first.” Arin dropped the tile to the table. “Let’s play again.” This time Kestrel won, and wasn’t prepared for how her blood buzzed with triumph.

As already suggested, when the individual first learns who it is that he must now accept a his own, he is likely, at the very least, to feel some ambivalence; for these others will not only be patently stigmatized, and thus not like the normal person he knows himself to be, but ma also have other attributes with which he finds it difficult to associate himself. What may end up as a freemasonry may begin with a shudder. A newly blind girl on a visit to The Lighthouse [probably the Chicago Lighthouse, one of the oldest social service agencies in Chicago serving the blind or visually impaired] directly from leaving the hospital provides an illustration: „My questions about a guide dog were politely turned aside. Another sighted worker took me in tow to show me around. We visited the Braille library; the classrooms; the clubrooms where the blind members of the music and dramatic groups meet; the recreation hall where on festive occasion the blind play together; the cafeteria, where all the blind gather to eat together; the huge workshops where the blind earn a subsistence income by making mops and brooms, weaving rugs, caning chairs. As we moved from room to room, I could hear the shuffling of feet, the muted voices, the tap-tap-tapping of canes. Here was the safe, segregated world of the sightless — a completely different world, I was assured by the social worker, from the one I had just left…. I was expected to join this world. To give up my profession and to earn my living making mops. The Lighthouse would be happy to teach me how to make mops. I was to spend the rest of my life making mops with other blind people, eating with other blind people, dancing with other blind people. I became nauseated with fear, as the picture grew in my mind. Never had I come upon such destructive segregation.“ (p.37)

It’s gorgeous. There’s a seating area to the left of me. To my right is a table with two chairs, all set up with plates and silverware, and champagne is in a bucket standing by the table. And fairy lights are hanging everywhere—literally everywhere you could put them. They’re entwined along the railings that edge the whole area. They’re draped over the small shrubs and trees that sit in planters. They’re hanging from the trellis. They’re just everywhere, and it looks so pretty. Music is softly playing in the background. London is receding into dusk. The sky is a soft dusty pink. And I’m in heaven. I walk further out, looking around in awe. “This is amazing.” I turn to face him. “I can’t believe you did this for me.” Well, I can. Because he’s done so much already. His hands are in his pants pockets, his head slightly tilted to the side, his eyes watching me. “There isn’t much I wouldn’t do for you, Boston.

This empty kitchen's where I'd while away the hours Just next to my old chair You'd usually have some flowers The shelves of books Even the picture hooks Everything is gone But my heart is hanging on If this old neighborhood Survived us both alright Don't know that it withstood All the things that took our light You on the stair I can see you there Everything is gone But my heart is hanging on Once there was a little girl Used to wonder what she would be Went out into the big wide world Now she's just a memory There used to be a little school here Where I learned to write my name But time has been a little cruel here Time has no shame It's just a place where We used to live It's just a place where We used to live Now in another town You lead another life And now upstairs and down You're someone else's wife Here in the dust There's not a trace of us Everything is gone But my heart is hanging on It's just a place where We used to live It's just a place where We used to live.

A Light in the Moon" A light in the moon the only light is on Sunday. What was the sensible decision. The sensible decision was that notwithstanding many declarations and more music, not even notwithstanding the choice and a torch and a collection, notwithstanding the celebrating hat and a vacation and even more noise than cutting, notwithstanding Europe and Asia and being overbearing, not even notwithstanding an elephant and a strict occasion, not even withstanding more cultivation and some seasoning, not even with drowning and with the ocean being encircling, not even with more likeness and any cloud, not even with terrific sacrifice of pedestrianism and a special resolution, not even more likely to be pleasing. The care with which the rain is wrong and the green is wrong and the white is wrong, the care with which there is a chair and plenty of breathing. The care with which there is incredible justice and likeness, all this makes a magnificent asparagus, and also a fountain.

The law isn’t supposed to be about unspoken excuses and behind-the-scenes calculations. The beauty of the system is that judges and juries are allowed to consider only what is seen and heard in open court. In between the white lines of this arena, it’s all supposed to make sense. This is where we all get to be equal again. In the defendant’s chair, rich and poor ride the same roller coaster, face the same music. Case has to match case. Sentence should match sentence. But they don’t match anymore. They probably never did, and probably it was never even close. But at least there was the illusion of it. What’s happened now, in this new era of settlements and non prosecutions is that the state has formally surrendered to its own excuses. It has decided just to punt from the start and take the money which doesn’t become really wrong until it turns around the next day and decides to double down on the less-defended, flooring it all the way to trial against a welfare mom or some joker who sold a brick of dope in the projects. Repeat the same process a few million times, and that’s how the jails in American get the population they have. Even if every single person they sent to jail were guilty, the system would still be an epic fail—it’s the jurisprudential version of Pravda, where the facts int he paper might have all been true on any given day, but the lie was all in what was not said. That’s what nobody gets, that the two approaches to justice may individually make a kind of sense. but side by side they’re a dystopia, here common city courts become factories for turning poor people into prisoners, while federal prosecutors on the white-collar beat turn into overpriced garbage men, who behind closed doors quietly dispose of the sins of the rich for a fee. And it’s evolved this way over time and for a thousand reasons, so that almost nobody is aware of the whole picture, the two worlds so separate that they’re barely visible to each other. The usual political descriptors like “unfairness” and “injustice” don’t really apply. it’s more like a breakdown into madness.

A lovely home atmosphere is one of the flowers of the world, than which there is nothing more tender, nothing more delicate, nothing more calculated to make strong and just the natures cradled and nourished within it. Those who have never experienced such a beneficent influence will not understand wherefore the tear springs glistening to the eyelids at some strange breath in lovely music. The mystic chords which bind and thrill the heart of the nation, they will never know. Hurstwood’s residence could scarcely be said to be infused with this home spirit. It lacked that toleration and regard without which the home is nothing. There was fine furniture, arranged as soothingly as the artistic perception of the occupants warranted. There were soft rugs, rich, upholstered chairs and divans, a grand piano, a marble carving of some unknown Venus by some unknown artist, and a number of small bronzes gathered from heaven knows where, but generally sold by the large furniture houses along with everything else which goes to make the “perfectly appointed house.

At nine o'clock every morning you will read aloud one half-hour to me. Before that you will use the time to put this room in order. Wednesday and Saturday forenoons, after half-past nine, you will spend with Nancy in the kitchen, learning to cook. Other mornings you will sew with me. That will leave the afternoons for your music. I shall, of course, procure a teacher at once for you," she finished decisively, as she arose from her chair. Pollyanna cried out in dismay. "Oh, but Aunt Polly, Aunt Polly, you haven't left me any time at all just to to live." "To live, child! What do you mean? As if you weren't living all the time!" "Oh, of course I'd be breathing all the time I was doing those things, Aunt Polly, but I wouldn't be living. You breathe all the time you're asleep, but you aren't living. I mean living doing the things you want to do: playing outdoors, reading (to myself, of course), climbing hills, talking to Mr. Tom in the garden, and Nancy, and finding out all about the houses and the people and everything everywhere all through the perfectly lovely streets I came through yesterday. That's what I call living, Aunt Polly. Just breathing isn't living!

The programme was due at any moment and I felt a bit self-conscious about barging in on some innocent family at sacred tea time. I need not have feared. A young man of about thirty opened the door to me and I asked, 'Do you watch Doctor Who in this house by any chance?' For a split second the young man looked puzzled and then he smiled, opened the door wide, and simply said 'Come in, Doctor.' And in I went. As he ushered me into the sitting room, I heard the title music and I quietly sat in the chair the man pointed to. As I took my seat, he pointed towards two little boys sitting on the sofa, eyes glued to the screen as I appeared. They watched with terrific intensity as a bit of drama unrolled and then, as someone else took up the plot, they lost interest slightly and glanced up at their dad and then at me. Just as they did so, I reappeared on the screen and they looked at me there. Their amazement was simply amazing! They were utterly gobsmacked as the two images jostled in their heads. They could not grasp how I could be in two paces at once and then, to the delight of their dad, they couldn't believe Doctor Who was in their house. What a wonderful hour or so that was.

This might baffle you, but despite not being a physician, I do have some pride. Although most certainly not enough to withstand the kind of beating you're capable of dealing it. The kind of beating you've repeatedly dealt it from the first time we've met. You're right, I value honesty, so I'll tell you that I make it a practice not to find women who insult me at every opportunity attractive." Color flooded her cheeks and traveled down her neck. Finally, she stepped away from him, too, and found the back of a chair to clutch. She looked entirely devastated. Had no one ever denied her anything? He hated the hurt in her eyes. But it was done now. "How is telling you I'm attracted to you an insult?" He pressed the back of his hand into his forehead. It made him feel like a drama queen in some sort of musical farce. Which this had to be. "Telling me how unworthy I am of your attraction, that's the insulting part. And, no, that's not all it is. Even if you hadn't told me at every opportunity how inferior to you I am... all I do is cook... every assumption you've made about me is insulting. Culinary school is definitely college. And Le Cordon Bleu is one of the most competitive institutions in the world. The fact that that's so wholly incomprehensible to you... that's the insulting part. And it wasn't thrown in my overly privileged lap either. I had to work my bottom off to make it in." Ammaji had sold her dowry jewels to pay for his application, something her family would have thrown her out on the street for had they found out. Trisha squared her shoulders, the devastation draining fast from her face, leaving behind the self-possession he was so much more used to. And the speed with which she gathered herself shook something inside him. "I might not do what you see as important work, but I work hard at being a decent human being, and I would need anyone I'm with to be that first and foremost. Even if I didn't find snobbery in general incredibly unattractive, I would never go anywhere near a person as self-absorbed and arrogant as you, Dr. Raje. I would have to be insane to subject myself to your view of me and the world." "Wow." She was panting, or maybe it was him. He couldn't be sure. "You wanted honesty. I'm sorry if I hurt you." She cleared her throat. "I'm surprised you think someone as... as... self-absorbed and arrogant as me is even capable of being hurt.

And then she caught the song. She fell upon it and music poured from the fiddle’s hollow, bright and liquid like fire out of the heart of the earth. Pierre-Jean drew back and stood mesmerized. The room around Fin stirred as every ear bent to the ring of heartsong. It rushed through Fin and spread to the outermost and tiniest capillary reaches of her body. Her flesh sang. The hairs of her arms and neck roused and stood. She sped the bow across the strings. Her fingers danced on the fingerboard quick as fat raindrops. Every man in the room that night would later swear that there was a wind within it. They would tell their children and lovers that a hurricane had filled the room, toppled chairs, driven papers and sheets before it and blew not merely around them but through them, taking fears, grudges, malice, and contempt with it, sending them spiraling out into the night where they vanished among the stars like embers rising from a bonfire. And though the spirited cry of the fiddle’s song blew through others and around the room and everything in it, Fin sat at the heart of it. It poured into her. It found room in the closets and hollow places of her soul to settle and root. It planted seeds: courage, resolve, steadfastness. Fin gulped it in, seized it, held it fast. She needed it, had thirsted for it all her days. She saw the road ahead of her, and though she didn’t understand it or comprehend her part in it, she knew that she needed the ancient and reckless power of a holy song to endure it. She didn’t let the music loose. It buckled and swept and still she clung to it, defined it in notes and rhythm, channeled it like a river bound between mountain steeps. And a thing happened then so precious and strange that Fin would ever after remember it only in the formless manner of dreams. The song turned and spoke her name—her true name, intoned in a language of mysteries. Not her earthly name, but a secret word, defining her alone among all created things. The writhing song spoke it, and for the first time, she knew herself. She knew what it was to be separated out, held apart from every other breathing creature, and known. Though she’d never heard it before and wouldn’t recall it after, every stitch of her soul shook in the passage of the word, shuddered in the wake of it, and mourned as the sound sped away. In an instant, it was over. The song ended with the dissonant pluck of a broken string.

Harper walked over to her reception desk. “What’s with the Tyson look-alikes out there? I almost couldn’t get in here.” Pixie frowned. “Better go ask your boy-o. Famous rock star in the house.” Pixie accentuated her comment with the poke of her pen. Jeez, he was huge. And built. And shirtless. Okay, enough staring. Well, maybe just for another second. Trent was leaning over the guy, and she could tell from the wide-reaching spread of purple transfer lines that he was just beginning a sleeve on the other man’s lower arm. The guy in the chair might well be a rock star— although Harper would never admit she had no clue who he was— but he was wincing. Harper could totally feel for him. Trent was in his usual position— hat on backward, gloves on, and perched on a stool. Harper approached them nervously. The big guy’s size and presence were a little intimidating. “I don’t bite.” Oh God. He was talking to her. “Excuse me?” He sucked air in between clenched teeth. “I said I don’t bite. You can come closer.” His blue eyes were sparkling as he studied her closely. Trent looked up. “Hey, darlin’,” he said, putting the tattoo machine down and reaching for her hand. “Dred, this is my girl, Harper. Harper, this is Dred Zander from the band Preload. He’s one of the other judges I told you about.” Wow. Not that she knew much about the kind of music that Trent listened to, but even she had heard of Preload. That certainly explained the security outside. Dred reached out his hand and shook hers. “Nice to meet you, Harper. And a pity. For a minute, I thought you were coming over to see me.” “No,” Harper exclaimed quickly, looking over at Trent, who was grinning at her. “I mean, no, I was just bringing Trent some cookies.” Holy shit. Was she really that lame? It was like that moment in Dirty Dancing when Baby told Johnny she carried a watermelon. Dred turned and smiled enigmatically at Trent. “I see what you mean, man.” “Give.” Smiling, Trent held out his hand. Reaching inside her bag, she pulled out the cookies and handed the container to him. “Seriously, dude, she’s the best fucking cook on the planet.” Trent paused to take a giant bite. “You got to try one,” he mumbled, offering the container over. Harper watched, mortified, as a modern-day rock legend bit into one of her cookies. Dred chewed and groaned. “These are almost as good as sex.” Harper laughed. “Not quite,” Trent responded, giving her a look that made her burn. “You should try her pot roast. Could bring a grown man to his knees.

My dear, dear ladies,” Sir Francis effused as he hastened forward, “what a long-awaited delight this is!” Courtesy demanded that he acknowledge the older lady first, and so he turned to her. Picking up Berta’s limp hand from her side, he presed his lips to it and said, “Permit me to introduce myself. I am Sir Francis Belhaven.” Lady Berta curtsied, her fear-widened eyes fastened on his face, and continued to press her handkerchief to her lips. To his astonishment, she did not acknowledge him at all; she did not say she was charmed to meet him or inquire after his health. Instead, the woman curtsied again. And once again. “There’s hardly a need for all that,” he said, covering his puzzlement with forced jovially. “I’m only a knight, you know. Not a duke or even an earl.” Lady Berta curtsied again, and Elizabeth nudged her sharply with her elbow. “How do!” burst out the plump lady. “My aunt is a trifle-er-shy with strangers,” Elizabeth managed weakly. The sound of Elizabeth Cameron’s soft, musical voice made Sir Francis’s blood sing. He turned with unhidden eagerness to his future bride and realized that it was a bust of himself that Elizabeth was clutching so protectively, so very affectionately to her bosom. He could scarcely contain his delight. “I knew it would be this way between us-no pretense, no maidenly shyness,” he burst out, beaming at her blank, wary expression as he gently took the bust of himself from Elizabeth’s arms. “But, my lovely, there’s no need for you to caress a hunk of clay when I am here in the flesh.” Momentarily struck dumb, Elizabeth gaped at the bust she’d been holding as he first set it gently upon its stand, then turned expectantly to her, leaving her with the horrifying-and accurate-thought that he now expected her to reach out and draw his balding head to her bosom. She stared at him, her mind in paralyzed chaos. “I-I would ask a favor of you, Sir Francis,” she burst out finally. “Anything, my dear,” he said huskily. “I would like to-to rest before supper.” He stepped back, looking disappointed, but then he recalled his manners and reluctantly nodded. “We don’t keep country hours. Supper is at eight-thirty.” For the first time he took a moment to really look at her. His memories of her exquisite face and delicious body had been so strong, so clear, that until then he’d been seeing the Lady Elizabeth Cameron he’d met long ago. Now he belatedly registered the stark, unattractive gown she wore and the severe way her hair was dressed. His gaze dropped to the ugly iron cross that hung about her neck, and he recoiled in shock. “Oh, and my dear, I’ve invited a few guests,” he added pointedly, his eyes on her unattractive gown. “I thought you would want to know, in order to attire yourself more appropriately.” Elizabeth suffered that insult with the same numb paralysis she’d felt since she set eyes on him. Not until the door closed behind him did she feel able to move. “Berta,” she burst out, flopping disconsolately onto the chair beside her, “how could you curtsy like that-he’ll know you for a lady’s maid before the night is out! We’ll never pull this off.” “Well!” Berta exclaimed, hurt and indignant. “Twasn’t I who was clutching his head to my bosom when he came in.” “We’ll do better after this,” Elizabeth vowed with an apologetic glance over her shoulder, and the trepidation was gone from her voice, replaced by steely determination and urgency. “We have to do better. I want us both out of here tomorrow. The day after at the very latest.” “The butler stared at my bosom,” Berta complained. “I saw him!” Elizabeth sent her a wry, mirthless smile. “The footman stared at mine. No woman is safe in this place. We only had a bit of-of stage fright just now. We’re new to playacting, but tonight I’ll carry it off. You’ll see. No matter what if takes, I’ll do it.

Well, I hope that I don't fall in love with you Cause falling in love just makes me blue Well, the music plays and you display your heart for me to see I had a beer and now I hear you calling out for me And I hope that I don't fall in love with you Well, the room is crowded, people everywhere And I wonder, should I offer you a chair? Well, if you sit down with this old clown, I'll take that frown and break it Before the evening's gone away, I think that we can make it And I hope that I don't fall in love with you Well, the night does funny things inside a man These old tomcat feelings you don't understand Well, I turn around to look at you, you light a cigarette I wish I had the guts to bum one, but we've never met And I hope that I don't fall in love with you I can see that you are lonesome just like me And it being late, you'd like some company Well, I turn around to look at you, and you look back at me The guy you're with he's up and split, the chair next to you is free And I hope that you don't fall in love with me Now it's closing time, the music's fading out Last call for drinks, I'll have another stout Well, I turn around to look at you, you're nowhere to be found I search the place for your lost face, guess I'll have another round And I think that I just fell in love with you

He sat beside his brother and glanced at the notes. “The broken pew in the chapel has been repaired—you can cross that off the list. The keg of caviar arrived yesterday. It’s in the icehouse. I don’t know whether the extra camp chairs are here yet. I’ll ask Sims.” He paused to drink half his coffee in one swallow. “Where’s Kathleen? Still abed?” “Are you joking? She’s been awake for hours. At the moment she’s with the housekeeper, showing deliverymen where to set the flower arrangements.” A fond smile crossed Devon’s lips as he rolled the pencil against the tabletop with the flat of his hand. “You know my wife—every detail has to be perfect.” “It’s like staging a production at St. James’s Music Hall. Without, sadly, the chorus girls in pink tights.” West drained the rest of his coffee. “My God, will this day never end?” “It’s only six o’clock in the morning,” Devon pointed out. They both sighed. “I’ve never thanked you properly for marrying Kathleen at the registrar’s office,” West commented. “I want you to know how much I enjoyed it.” “You weren’t there.” “That’s why I enjoyed it.” Devon’s lips twitched. “I was glad not to have to wait,” he said. “But had there been more time, I wouldn’t have minded going through a more elaborate ceremony for Kathleen’s sake.” “Please. Shovel that manure in someone else’s direction.

Marcelina loved that miniscule, precise moment when the needle entered her face. It was silver; it was pure. It was the violence that healed, the violation that brought perfection. There was no pain, never any pain, only a sense of the most delicate of penetrations, like a mosquito exquisitely sipping blood, a precision piece of human technology slipping between the gross tissues and cells of her flesh. She could see the needle out of the corner of her eye; in the foreshortened reality of the ultra-close-up it was like the stem of a steel flower. The latex-gloved hand that held the syringe was as vast as the creating hand of God: Marcelina had watched it swim across her field of vision, seeking its spot, so close, so thrillingly, dangerously close to her naked eyeball. And then the gentle stab. Always she closed her eyes as the fingers applied pressure to the plunger. She wanted to feel the poison entering her flesh, imagine it whipping the bloated, slack, lazy cells into panic, the washes of immune response chemicals as they realized they were under toxic attack; the blessed inflammation, the swelling of the wrinkled, lined skin into smoothness, tightness, beauty, youth. Marcelina Hoffman was well on her way to becoming a Botox junkie. Such a simple treat; the beauty salon was on the same block as Canal Quatro. Marcelina had pioneered the lunch-hour face lift to such an extent that Lisandra had appropriated it as the premise for an entire series. Whore. But the joy began in the lobby with Luesa the receptionist in her high-collared white dress saying “Good afternoon, Senhora Hoffman,” and the smell of the beautiful chemicals and the scented candles, the lightness and smell of the beautiful chemicals and the scented candles, the lightness and brightness of the frosted glass panels and the bare wood floor and the cream-on-white cotton wall hangings, the New Age music that she scorned anywhere else (Tropicalismo hippy-shit) but here told her, “you’re wonderful, you’re special, you’re robed in light, the universe loves you, all you have to do is reach out your hand and take anything you desire.” Eyes closed, lying flat on the reclining chair, she felt her work-weary crow’s-feet smoothed away, the young, energizing tautness of her skin. Two years before she had been to New York on the Real Sex in the City production and had been struck by how the ianqui women styled themselves out of personal empowerment and not, as a carioca would have done, because it was her duty before a scrutinizing, judgmental city. An alien creed: thousand-dollar shoes but no pedicure. But she had brought back one mantra among her shopping bags, an enlightenment she had stolen from a Jennifer Aniston cosmetics ad. She whispered it to herself now, in the warm, jasmine-and vetiver-scented sanctuary as the botulin toxins diffused through her skin. Because I’m worth it.

It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.

Brian and Avis deliver their stacks and try to refuse dinner, but the waiters bring them glasses of burgundy, porcelain plates with thin, peppery steaks redolent of garlic, scoops of buttery grilled Brussels sprouts, and a salad of beets, walnuts, and Roquefort. They drag a couple of lawn chairs to a quiet spot on the street and they balance the plates on their laps. Some ingredient in the air reminds Avis of the rare delicious trips they used to make to the Keys. Ten years after they'd moved to Miami they'd left Stanley and Felice with family friends and Avis and Brian drove to Key West on a sort of second honeymoon. She remembers how the land dropped back into distance: wetlands, marsh, lazy-legged egrets flapping over the highway, tangled, sulfurous mangroves. And water. Steel-blue plains, celadon translucence. She and Brian had rented a vacation cottage in Old Town, ate small meals of fruit, cheese, olives, and crackers, swam in the warm, folding water. Each day stirring into the next, talking about nothing more complicated than the weather, spotting a shark off the pier, a mysterious constellation lowering in the west. Brian sheltered under a celery-green umbrella while Avis swam: the water formed pearls on the film of her sunscreen. They watched the night's rise, an immense black curtain from the ocean. Up and down the beach they hear the sounds of the outdoor bars, sandy patios switching on, distant strains of laughter, bursts of music. Someone played an instrument- quick runs of notes, arpeggios floating in soft ovals like soap bubbles over the darkening water.

When the dress for Irex’s dinner party arrived wrapped in muslin and tied with twine, it was Arin who brought the package to Kestrel. She hadn’t seen him since the first green storm. She didn’t like to think about that day. It was her grief, she decided, that she didn’t want to remember. She was learning to live around it. She had returned to her music, and let that outings and lessons flow around the fact of Enai’s death, smoothing its jagged edges. She spent little time at the villa. She sent no invitations to Arin for Bite and Sting. If she went into society, she chose other escorts. When Arin stepped into her sitting room that was really a writing room, Kestrel set her book next to her on the divan and turned its spine so that he wouldn’t see the title. “Hmm,” Arin said, turning the packaged dress over in his hands. “What could this be?” “I am sure you know.” He pressed it between his fingers. “A very soft kind of weapon, I think.” “Why are you delivering my dress?” “I saw Lirah with it. I asked if I could bring it to you.” “And she let you, of course.” He lifted his brows at her tone. “She was busy. I thought she would be glad for one less thing to do.” “That was kind of you then,” Kestrel said, though she heard her voice indicate otherwise and was annoyed with herself. Slowly, he said, “What do you mean?” “I mean nothing.” “You asked me to be honest with you. Do you think I have been?” She remembered his harsh words during the storm. “Yes.” “Can I not ask the same thing of you?” The answer was no, no slave could ask anything of her. The answer was no, if he wanted her secret thoughts he could try to win them at Bite and Sting. But Kestrel swallowed a sudden flare of nervousness and admitted to herself that she valued his honesty--and her own, when she was around him. There was nothing wrong with speaking the truth. “I think that you are not fair to Lirah.” His brows drew together. “I don’t understand.” “It’s not fair for you to encourage Lirah when your heart is elsewhere.” He inhaled sharply. Kestrel thought that he might tell her it was no business of hers, for it was not, but then she saw that he wasn’t offended, only taken aback. He pulled up a chair in that possessive, natural way of his and sank into it, dropping the dress onto his knees. He studied her. She willed herself not to look away. “I hadn’t thought of Lirah like that.” Arin shook his head. “I’m not thinking clearly at all. I need to be more careful.” Kestrel supposed that she should feel reassured. Arin set the package on the divan where she sat. “A new dress means an event on the horizon.” “Yes, a dinner party. Lord Irex is hosting.” He frowned. “And you’re going?” She shrugged. “Do you need an escort?” Kestrel intended to say no, but became distracted by the determined set to Arin’s mouth. He looked almost…protective. She was surprised that he should look that way. She was confused, and perhaps this made her say, “To be honest, I would be glad for your company.” His eyes held hers. Then his gaze fell to the book by Kestrel’s side. Before she could stop him, he took it with a nimble hand and read the title. It was a Valorian history of its empire and wars. Arin’s face changed. He returned the book and left.

If you could be anyone else, who would you want to be?” I ask, because I’ve decided that I admire how David doesn’t self-censor. I should try it too. I think about this all the time. Waking up in the morning, looking in the mirror, and seeing someone wholly different staring back. These days I’d give anything to be the old me, the pre-accident me, who could sit at my old lunch table and chat about nothing. The pre-accident me who aspired to be more like Lauren Drucker, former benevolent ruler and social chair of Mapleview. I really wouldn’t mind being entirely full of shit, so long as I didn’t notice. “There’s this guy Trey who teaches me guitar,” David says. “He kind of pisses me off, actually, but he’s just the type of guy everyone likes. He always knows exactly what to say. Like has annoyingly pitch-perfect radio waves. So I guess him?” “I used to want my metaphorical radio waves to play music that was, like, quirky but also perfectly curated, you know? Something cool. But now I feel like I’ve become traffic on the hour.” “You are so not traffic on the hour,” he says, and to my dismay dabs at his chin with a napkin. “Though I wouldn’t mind even being that. Reliable, informative, albeit repetitive. At least people actually listen to it.” “I think your signal is in Morse code,” I say with a smile. “When I was eight, I taught myself Morse code. The clicks are highly irritating.” I lean over and for no reason I can think of—maybe because I have nothing smart to say, maybe because with David I feel like someone else entirely, I want to be someone else entirely—I take a lick of his ice cream. The vanilla part. He stares at my lips, as shocked as I am. “Sorry,” I say. “I liked your order better.” “The cold medicine is not for me. Just to be clear,” he says. “Wasn’t worried.

I said to myself, This is going to be quick. I also thought: I’ll take the epidural now! Because the contractions were starting to demonstrate what the pain of birth is all about. The obstetrician came in. I smiled, ready for my shot. “I don’t know how to tell you this,” she said. “Your platelets are really, really low.” “Okay,” I said. I knew what platelets were-blood cells whose job it is to stop bleeding-but I had no idea why that was significant. “So, my epidural?” “You can’t have any medications.” “Come again?” “No drugs, no medications,” she said. “No epidural. I’ve called around to different anesthesiologists, and no one will touch you.” “No epidural?” “Nothing.” There are girls from third-world countries who do it with no drugs, I reminded myself. My mother elected for natural childbirth. How bad can it be? I got this. It started to hurt. I thought to myself, I am not going to cuss. Hell no! I am about to be a mother. I am bringing our baby into a positive environment and must be a good role model. Wow! The contractions built up quickly. My pristine vision of perfect, calm, quiet childbirth disappeared. A banshee snuck into the room and took over my body. Arrrgggh!!! No cursing! There was a rocking chair in the birth room. I went over and sat in it and began moving back and forth. Chris put on a CD by Enya that we’d brought to listen to: peaceful, pleasant music. I took a deep breath. Jeez, Louise! That one was a monster! Then, a breather. I’m doing goooooood! Breathe. Breathe… Wow! Then I said some other things. The banshee had a mind of her own. “I’m sorry, I’m sorry, I’m sorry!” I apologized to the nurses as I recovered from the surge of the contraction. “It’s okay,” said Chris. The pain surged again. Dang! Jiminy! And other things. Chris would watch the monitor. Suddenly he’d turn to look at me. “What?” I asked. “That was a strong one.” “Uh-huh.” The funny thing is, the stronger the contractions were on the monitor, the less they seemed to hurt. Maybe when things are really bad you focus more on being tough. Or perhaps my brain’s pain mechanism simply went on strike when the agony got too much.

And all I can think about is that it's not over and I'm tired and I'm ready to go but I'm still here. And I have to do it again and again and again." He leaned back in his chair. "You think about that before you tell me I've got it easy." I stayed silent a while before speaking. "So why don't you end it?" "Suicide?" "If your life is such a hell," I asked, "why bother? Why go through it again and again and all those times?" "Because of..." He stopped and looked at the ceiling. After a moment he shrugged. "Because of children," he said, "because of smiles and sunshine and ice cream." "You've got to be kidding." "You don't like ice cream?" Elijah shook his head, "It's the best. Imagine how excited I was when someone finally invented it. " "Sunshine and smiles don't make all that other stuff go away." I said, "This isn't a fairy land." "No," he said. "It's the real world. And the real world is the most amazing thing any of us will ever experience. Have you ever climbed a mountain? Walked through a garden? Played with a child? This isn't exactly a revelation John. People have been praising the simple pleasures since even before I was born, and that's a very long time." "You don't do any of those things." "But I have my memories," Said Elijah. "And I have even simpler things. Music. Food. Everybody likes bacon." "I'm a vegetarian." "Asparagus then," said Elijah, "roasted in pan. A little olive oil and a little salt - you the get the most incredible flavor - almost like a nut. But deep and rich and the textures just perfect..." "I've tried it." "The world is more than sadness," said Elijah, "i have a hundred thousand memories in my head. I can't remember all of them, or maybe even most of them, but they are so much happier than sad. For every dead mother or brother or child there are a hundred breezes, a hundred sunsets, a hundred memories of falling in love. Have you ever kissed anyone, John?" "I don't see how that's any of your business." "A first kiss is important. Most people only get one. But I can remember a hundred thousand of them. How could I give that up?" he shook his dead, smiling for the first time. "The world never gets old, John.

Then I’ll sing, though that will likely have the child holding his ears and you running from the room.” This, incongruously, had her lips quirking up. “My father isn’t very musical. You hold the baby, I’ll sing.” She took the rocking chair by the hearth. Vim settled the child in his arms and started blowing out candles as he paced the room. “He shall feed his flock, like a shepherd…” More Handel, the lilting, lyrical contralto portion of the aria, a sweet, comforting melody if ever one had been written. And the baby was comforted, sighing in Vim’s arms and going still. Not deathly still, just exhausted still. Sophie sang on, her voice unbearably lovely. “And He shall gather the lambs in his arm… and gently lead those that are with young.” Vim liked music, he enjoyed it a great deal in fact—he just wasn’t any good at making it. Sophie was damned good. She had superb control, managing to sing quietly even as she shifted to the soprano verse, her voice lifting gently into the higher register. By the second time through, Vim’s eyes were heavy and his steps lagging. “He’s asleep,” he whispered as the last notes died away. “And my God, you can sing, Sophie Windham.” “I had good teachers.” She’d sung some of the tension and worry out too, if her more peaceful expression was any guide. “If you want to go back to your room, I can take him now.” He didn’t want to leave. He didn’t want to leave her alone with the fussy baby; he didn’t want to go back to his big, cold bed down the dark, cold hallway. “Go to bed, Sophie. I’ll stay for a while.” She frowned then went to the window and parted the curtain slightly. “I think it’s stopped snowing, but there is such a wind it’s hard to tell.” He didn’t dare join her at the window for fear a chilly draft might wake the child. “Come away from there, Sophie, and why haven’t you any socks or slippers on your feet?” She glanced down at her bare feet and wiggled long, elegant toes. “I forgot. Kit started crying, and I was out of bed before I quite woke up.” They shared a look, one likely common to parents of infants the world over. “My Lord Baby has a loyal and devoted court,” Vim said. “Get into bed before your toes freeze off.” She gave him a particularly unreadable perusal but climbed into her bed and did not draw the curtains. “Vim?” “Hmm?” He took the rocker, the lyrical triple meter of the aria still in his head. “Thank you.” He

Sitting with some of the other members of the Scholastic Decathlon team, quiet, studious Martha Cox heard snatches of the lunchtime poetry. Her ears instantly pricked up. "What's going on?" she asked, her eyes bright. Betty Hong closed her book and leaned close. "Taylor McKessie told me all about it," she whispered. Betty told Martha about next week's poetry-reading assembly and how Taylor was trying to help half the starting basketball team locate their muse. "That's totally fresh!" Martha cried. "Too bad I'm not in Ms Barrington's English class." Betty made a face. "You like poetry stuff? I thought you were into maths and science." "I like it all," Martha replied. "I love astronomy and hip-hop-" Betty rolled her eyes. "Not hip-hop again." "Word, girl," Martha replied. "You know I've been bustin' out kickin' rhymes for years. It helps me remember lessons, like last night's astronomy lecture." "No," Betty said. "You didn't make up a rap to that." "Just watch," Martha cried. Leaping out of her chair, she began to chant, freestyle: "At the centre of our system is the molten sun, A star that burns hot, Fahrenheit two billion and one. But the sun, he ain't alone in the heavenly sphere, He's got nine homeys in orbit, some far, some near. Old Mercury's crowding in 'bout as close as he can, Yo, Merc's a tiny planet who loves a tan.... Some kids around Martha heard her rap. They really got into it, jumping up from their tables to clap and dance. The beat was contagious. Martha started bustin' some moves herself. She kept the rap flowing, and more kids joined the party.... "Venus is next. She's a real hot planet, Shrouded by clouds, hot enough to melt granite. Earth is the third planet from the sun, Just enough light and heat to make living fun. Then comes Mars, a planet funky and red. Covered with sand, the place is pretty dead. Jupiter's huge! The largest planet of all! Saturn's big, too, but Uranus is small. So far away, the place is almost forgotten, Neptune's view of Earth is pretty rotten. And last but not least, Pluto's in a fog, Far away and named after Mickey's home dog. Yo, that's all the planets orbiting our sun, But the Milky Way galaxy is far from done!" When Martha finished her freestyle, hip-hop flow, the entire cafeteria burst into wild applause. Troy, Chad, Zeke, and Jason had been clapping and dancing, too. Now they joined in the whooping and hollering. "Whoa," said Chad. "Martha's awesome.

The school is teeming with activity. The rooms are small and large, many are special-purpose rooms, like shops and labs, but most are furnished like rather shabby living or dining rooms in homes: lots of sofas, easy chairs, and tables. Lots of people sitting around talking, reading, and playing games. On an average rainy day—quite different from a beautiful suddenly snowy day, or a warm spring or fall day—most people are inside. But there will also be more than a few who are outside in the rain, and later will come in dripping and trying the patience of the few people inside who think the school should perhaps be a “dry zone.” There may be people in the photo lab developing or printing pictures they have taken. There may be a karate class, or just some people playing on mats in the dance room. Someone may be building a bookshelf or fashioning chain mail armor and discussing medieval history. There are almost certainly a few people, either together or separate, making music of one kind or another, and others listening to music of one kind or another. You will find adults in groups that include kids, or maybe just talking with one student. It would be most unusual if there were not people playing a computer game somewhere, or chess; a few people doing some of the school’s administrative work in the office—while others hang around just enjoying the atmosphere of an office where interesting people are always making things happen; there will be people engaged in role-playing games; other people may be rehearsing a play—it might be original, it might be a classic. They may intend production or just momentary amusement. People will be trading stickers and trading lunches. There will probably be people selling things. If you are lucky, someone will be selling cookies they baked at home and brought in to earn money. Sometimes groups of kids have cooked something to sell to raise money for an activity—perhaps they need to buy a new kiln, or want to go on a trip. An intense conversation will probably be in progress in the smoking area, and others in other places. A group in the kitchen may be cooking—maybe pizza or apple pie. Always, either in the art room or in any one of many other places, people will be drawing. In the art room they might also be sewing, or painting, and some are quite likely to be working with clay, either on the wheel or by hand. Always there are groups talking, and always there are people quietly reading here and there. One

At some point I tried willing things along, mentally focusing on a rapid delivery. That didn't work. I got up to walk around-walking is supposed to help you progress-then quickly got back in the chair. “Argh!!!!!” I groaned. And other stuff. The way I saw it, my baby should have been out by now, shaking hands with his dad and passing around cigars to the nurses. But he apparently had other plans. Labor continued very slowly. Very slowly. We were in that room for eighteen hours. That was a lot of contractions. And a lot of PG versions of curse words, along with the X-rated kind. I may have invented a whole new language. Somewhere around the twelve-hour mark, Chris asked if I’d mind if he changed the music, since our songs had been playing on repeat for what surely seemed like a millennium. “Sure,” I said. He switched to the radio and found a country station. That lasted a song or two. “I’m so sorry,” I told him. “I need Enya. I’m tuned in to it, and it calms me…ohhhhh!” “Okay. No problem,” he said calmly, though not quite cheerfully. I’m sure it was torture. Chris would take short breaks, walking out into the waiting room where both sides of our family were waiting to welcome their first grandchild and nephew. He’d look at his dad and give a little nod. “She’s okay,” he told everyone. Then he’d wipe a little tear away from his eye and walk back to me. Chris said later that watching me give birth was probably the most powerless feeling he’d ever had. He knew I was in pain and yet couldn’t do a whit about it. “It’s like watching your wife get stabbed and not being able to do anything to help.” But when he came into the room with me, his eyes were clear and he seemed confident and even upbeat. It was the thing he did when talking to me from the combat zone, all over again: he wasn’t about to do anything that would make me worry. I, on the other hand, made no secret of what I was feeling. An alien watermelon was ripping my insides out. And it hurt. Whoooh! Suddenly one of the contractions peaked way beyond where the others had been. Bubba had finally decided it was time to say hello to the world. I grabbed the side rail on the bed and struggled to remain conscious, if not exactly calm. Part of me was thinking, You should remember this, Taya. This is natural childbirth. This is beautiful. This is what God intended. You should enjoy this precious moment and remember it always. Another part of me was telling that part to shut the bleep up. I begged for mercy-for painkillers.

Not long after I learned about Frozen, I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played “Angel,” by the reggae singer Shaggy, and then “The Joker,” by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin’s “Whole Lotta Love” and then Muddy Waters’s “You Need Love,” to show the extent to which Led Zeppelin had mined the blues for inspiration. He played “Twice My Age,” by Shabba Ranks and Krystal, and then the saccharine ’70s pop standard “Seasons in the Sun,” until I could hear the echoes of the second song in the first. He played “Last Christmas,” by Wham! followed by Barry Manilow’s “Can’t Smile Without You” to explain why Manilow might have been startled when he first heard that song, and then “Joanna,” by Kool and the Gang, because, in a different way, “Last Christmas” was an homage to Kool and the Gang as well. “That sound you hear in Nirvana,” my friend said at one point, “that soft and then loud kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain” — Nirvana’s lead singer and songwriter — “was such a genius that he managed to make it his own. And ‘Smells Like Teen Spirit’?” — here he was referring to perhaps the best-known Nirvana song. “That’s Boston’s ‘More Than a Feeling.’ ” He began to hum the riff of the Boston hit, and said, “The first time I heard ‘Teen Spirit,’ I said, ‘That guitar lick is from “More Than a Feeling.” ’ But it was different — it was urgent and brilliant and new.” He played another CD. It was Rod Stewart’s “Do Ya Think I’m Sexy,” a huge hit from the 1970s. The chorus has a distinctive, catchy hook — the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on “Taj Mahal,” by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a DJ at various downtown clubs, and at some point he’d become interested in world music. “I caught it back then,” he said. A small, sly smile spread across his face. The opening bars of “Taj Mahal” were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from “Do Ya Think I’m Sexy.” It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he’d been in Brazil, listened to some local music, and liked what he heard.

Thirty-Nine Ways to Lower Your Cortisol 1 Meditate. 2 Do yoga. 3 Stretch. 4 Practice tai chi. 5 Take a Pilates class. 6 Go for a labyrinth walk. 7 Get a massage. 8 Garden (lightly). 9 Dance to soothing, positive music. 10 Take up a hobby that is quiet and rewarding. 11 Color for pleasure. 12 Spend five minutes focusing on your breathing. 13 Follow a consistent sleep schedule. 14 Listen to relaxing music. 15 Spend time laughing and having fun with someone. (No food or drink involved.) 16 Interact with a pet. (It also lowers their cortisol level.) 17 Learn to recognize stressful thinking and begin to: Train yourself to be aware of your thoughts, breathing, heart rate, and other signs of tension to recognize stress when it begins. Focus on being aware of your mental and physical states, so that you can become an objective observer of your stressful thoughts instead of a victim of them. Recognize stressful thoughts so that you can formulate a conscious and deliberate reaction to them. A study of forty-three women in a mindfulness-based program showed that the ability to describe and articulate stress was linked to a lower cortisol response.28 18 Develop faith and participate in prayer. 19 Perform acts of kindness. 20 Forgive someone. Even (or especially?) yourself. 21 Practice mindfulness, especially when you eat. 22 Drink black and green tea. 23 Eat probiotic and prebiotic foods. Probiotics are friendly, symbiotic bacteria in foods such as yogurt, sauerkraut, and kimchi. Prebiotics, such as soluble fiber, provide food for these bacteria. (Be sure they are sugar-free!) 24 Take fish or krill oil. 25 Make a gratitude list. 26 Take magnesium. 27 Try ashwagandha, an Asian herbal supplement used in traditional medicine to treat anxiety and help people adapt to stress. 28 Get bright sunlight or exposure to a lightbox within an hour of waking up (great for fighting seasonal affective disorder as well). 29 Avoid blue light at night by wearing orange or amber glasses if using electronics after dark. (Some sunglasses work.) Use lamps with orange bulbs (such as salt lamps) in each room, instead of turning on bright overhead lights, after dark. 30 Maintain healthy relationships. 31 Let go of guilt. 32 Drink water! Stay hydrated! Dehydration increases cortisol. 33 Try emotional freedom technique, a tapping strategy meant to reduce stress and activate the parasympathetic nervous system (our rest-and-digest system). 34 Have an acupuncture treatment. 35 Go forest bathing (shinrin-yoku): visit a forest and breathe its air. 36 Listen to binaural beats. 37 Use a grounding mat, or go out into the garden barefoot. 38 Sit in a rocking chair; the soothing motion is similar to the movement in utero. 39 To make your cortisol fluctuate (which is what you want it to do), end your shower or bath with a minute (or three) under cold water.

Okay,let's do it," Robbie said, slapping his hands together as he stood. He stepped towards me with his arms outstreched and I tripped back. " What? No" " What? Yes," he said. He hit the rewind button and the tape zipped backward. He paused it right as the dance began. " You don't really expect me to ask Tama to dance with me without any practice. Even I'm not that stupid." I was suddenly very aware of my heartbeat. " There's no way I'm dancing with you." " You really know how to stroke a guy's ego," Robbie joked. "Come on. I'm not that repulsive." "You're not repulsive at all, it's just-" " Well, that's good to hear," Robbie said with a teasing smile. He was enjoying this. "it's just that I don't dance," I admitted. Never had. Not once. Not with a guy. I was a dance free-zone. " Well, neither do II mean, except on stage. But i've never danced like this, so we're even" he said. He hit "play". The music started and Robbie pulled me toward him by my wrist. he grabbed my hand, which was sweating, and held it, then put his other hand on my waist. My boobs pressed sgsinst his chest and I flinched, but Robbie didn't seem to notice. He was too busy consulting the TV screen. " Here goes nothing," he said. "Okay, it's a waltz, so one, two, three,,, one, two, three. Looks like a big step on one and two little steps on two and three. Got it?" "Sure." I so didn't have it. " Okay, go." He started to step in a circle, pulling me with him.I staggered along, mortified. " One, two, three. One two, three," he counted under his breath. My foot caught on his ankle. " Oops! Sorry." I was sweating like mad now, wishing I'd taken off my sweater, at least. " I got ya," he said, his grip tightiening on my hand. " K eep going." " One, two, three," I counted, staring down at our feet. He slammed one of his hip into one of the set chairs. " Ow. Dammit!" " Are you okay?"I asked."Yeah. Keep going," he said through his teeth. " One, two, three," I counted. I glanced up at the Tv screen, and the second I took my eyes off our feet, they got hopelessly tangled. I felt that instant swoop of gravity and shouted as we went down. The floor was not soft. " Oof?" " Ow. Okay, ow," Robbie said, grabbing his elbow. " That was not a good bone to fall on." He shook his arm out and I brought my knees up under my chin. " Maybe this wasn't the best idea." "No! No. We cannot give up that easily," Robbie said, standing. He took my hands and hoisted my up. " Maybe we just need to simplify it a little. " Actually i think its the twirl and the dip at the end that are really important," I theorized. It seemed like the most romantic part to me. " Okay, good." Robbie was phsyched by this development. "So maybe instead of going in circles, we just step side to side and do the twirl thing a couple of times. " Sounds like a plan," I said. " Let's do it." Robbie rewound the tape and we started from the beginning of the music. He took my hand again and held it up, then placed his other hand on my waist. This time we simply swayed back and forth. I was just getting used to the motion, when I realized that Robbie was staring at me.Big time." What?" i said, my skin prickling. " Trying to make eye contact," he said. " I hear eye contact while dancing is key." " Where would you hear something like that?" I said. " My grandmother. She's a wise woman," he said. His grandmother. How cute was that? His eyes were completely focused on my face. I tried to stare back into them, but I keep cracking up laughing. And he thought I'd make a good actress. " Wow. You suck at eye contact," he said. "Come on. Give me something to work here." I took a deep breath and steeled myself. It's just Robbie Delano, KJ. You can do this. And so I did. I looked right back into his eyes. And we continued to sway at to the music. His hand around mine. His hand on my waist. Our chests pressed together. I stared into his eyes, and soon i found that laughing was the last thing on my mind. " How's this working for you?

Thomas Edison was able to create these moments on demand by falling asleep in a chair with a spoon in his hand and a pan at his feet. When he would start to doze off, the spoon would fall from his hand onto the pan and wake him up. At those moments he would get his great ideas.

severely traumatized people may get more out of simply helping to arrange chairs before a meeting or joining others in tapping out a musical rhythm on the chair seats than they would from sitting in those same chairs and discussing the failures in their life.

No one is normal. Normal is a lie. The store should be for all people, not only people who like loud music. It’s rude. I’m telling my mother. She’s a board member of the co-op. All people should be included. They make the aisles big enough for wheelchairs. They should make the stimuli low for people who need things calmer. If our sensitivity had a chair, they’d make room for it.

Will admittedly was at his best with Bach, where the beauty is in the music itself. He was worse with contemporary composers. Schoenberg made him want to stab someone.

Will had given this phenomenon a lot of thought and was convinced, based on cases he’d seen, that too much success in one’s twenties was a terrible thing. In Sterling’s case, it had given him the belief that he was precious.

That was war for you, like a game of musical chairs where seats kept disappearing until only one was left, and people rarely stopped to ask who the hell was in charge of the music. Mari released Eva and crossed her arms.

What's wrong with it? Socialism eliminates (or severely limits) the right to private property, and denies the individual's reward for his labors proportionate to the amount of effort he puts into his work. For example, I may save my money, and buy two cows. And I work hard to feed these cows. They grow healthy and provide me with an abundance of dairy products; yet, if the man on the next farm just sits around all day, listens to music, reads books and practices his golf swing, socialist theory decrees that I am obliged to give him half of my milk products. If my neighbors knows that, why should he get up from the easy chair, and begin to improve his crops, and to save money, and to scrimp and sweat so that he can develop healthy cows which produce a lot of milk? Socialism, therefore, discourages initiative and does not provide sufficient incentive for industriousness. Welfare rolls do not diminish under Socialism; they grow. They grow, even though there are available jobs, because the easy availability of welfare makes it easier to live off the state than to work in a lower-paying job.

SELF PORTRAIT AS SHERLOCK HOLMES I am aware that in this performance I star as myself. You place your scalpel in my hands then take the appropriate number of steps toward the door, through which enough light shines in to illuminate my accumulated soot. Yet they will remember me cat-clean. When we return and rewind the mantle-clock, I begin again in my customary chair. Again you will forget that you have married, that the room is no longer yours. I can see you fear it never was, and so with my mouth I confirm it. Write again of my limits, the end, the slow approach. In these rooms I carve out other rooms; there, I litter as I’d like. Know that I only direct what you set down. From these lines I make my music.

She I had always seen her with him, everywhere she went she went with him, And today she walked the streets alone, and so lonely without him, She did not smile any longer without him, Because she felt disturbed by smiles without him, She often admired the starry night with him, But now the sky, more than the dying stars, missed her, because she was lost somewhere in the act of missing him, She did not want to try living without him, Because when she was tired of trying she had finally tried and loved him, She longer waited for the summer as she used to with him, Because when she had got bored of summer and it's everything, she had loved him, She felt the summer rose was dull without him, Because it felt fresh and brilliant, when to the rose he compared her, and she always kissed him, She did not want to kiss the rose without him, Because the rose, the summer, reminded her of him, She did not feel anything without him, Because her feelings failed to produce sensations without him, She was alive but she was still searching a part of her own self that died in him, And she feels it is a curse to live without him, She no longer sings songs that she used to sing with him, Because her heart no more creates musical beats that it created when she was with him, She still seeks him, nothing else, just him, everywhere she is, she seeks him, Because to her there appears to be nothing left to seek without him, Birds often sing at her window but in them too she seeks him, And the poor birds who always seek her in her eyes, fly away in sadness, because in her eyes, they only see him, just him, She does not look at the sky anymore, because there too she wishes to see him, And the sky always reminds her of him, and the moments spent with him, He has died a long time ago, but she is still with him, still believing she was born for him, So she is living, hoping that someday death will disown him, She is hoping, but not the way she used to hope when she was with him, Because now she only hopes about one thing, because all her desires and wishes begin and end with him, She is there waiting in her chair, looking out of the window waiting for him, Begging time to lead her to him, But the time does not wish to reveal him, For if it does, heavens shall miss him, And in this strife between the heaven who wants to keep him and her heart that wants to reclaim him, Time is the only force that can interfere and the only virtue that for her can recreate him, Tonight when the moon rose in the sky, the stars shone too, she looked at the sky and thought of him, Time watched her from its kingdom called everywhere, and from the heavens it finally stole him, Now they live for each other, and she lives with him, Because finally heaven too believed it is better they be together, because she indeed was born for him, Moreover, time had started procrastinating the affairs of the universe that can neither stop for her nor for him, So they let her have him because immortality felt better, only when she thought of him and when she was with him!

She I had always seen her with him, everywhere she went she went with him, And today she walked the streets alone, and appeared so lonely without him, She did not wish to smile without him, Because she felt disturbed by smiles without him, She often admired the starry nights with him, But now the sky, more than the dying stars, missed her, because she was lost somewhere in the act of missing him, She did not want to try living without him, Because when she was tired of trying she had finally tried, and loved him, She no longer waited for the summer as she used to when she was with him, Because when she had got bored of summer and it's every beautiful thing, she had loved him, She felt the summer rose was dull without him, Because it felt fresh and brilliant when he compared her to the rose, and she always kissed him, She did not want to kiss the rose without him, Because the rose and the summer, reminded her of him, She did not feel anything without him, Because her feelings failed to produce sensations without him, She was alive, but she was still searching a part of her own self that died in him, And now she feels it is a curse to live without him, She no longer sings songs that she used to sing with him, Because her heart no more creates musical beats that it created when she was with him, She still seeks him, nothing else, just him, wherever she might be, she seeks him, Because to her there appears to be nothing left to seek without him, Birds often sing at her window, but in them too she seeks him, And the poor birds who always seek her in her eyes, fly away in sadness, because in her eyes, they only see him, just him, She does not look at the sky anymore, because there too she wishes to see him, And the sky always reminds her of him, and the moments spent with him, He has died a long time ago, but she is still with him, still believing she was born for him, So she is living, hoping that someday death will disown him, She is hoping, but not the way she used to hope when she was with him, Because now she only hopes about one thing, because all her desires and wishes begin and end with him, She is there waiting in her chair, looking out of the window and waiting for him, Begging time to lead her to him, But the time does not wish to reveal him, For if it does, heaven shall miss him, And in this strife between the heaven that wants to keep him, and her heart that wants to reclaim him, Time is the only force that can interfere, and grant her the wish of being with him, Tonight when the moon rose in the sky, the stars shone too, she looked at the sky and thought of him, Time watched her from its kingdom called everywhere, and from the heaven it finally stole him, Now they live for each other, and she lives with him, Because finally heaven too believed it is better they be together, because she indeed was born for him, Moreover, time had started procrastinating the affairs of the universe that can neither stop for her nor for him, So the heaven let her have him, because immortality felt better, only when she thought of him and when she was with him!

A withered woman sits in a chair hardly moving, her face red and swollen, her eyesight almost gone, her hearing gone, her breathing scratchy like the rustle of dead leaves on stones. Years pass. There are few visitors. Gradually, the woman gains strength, eats more, loses the heavy lines in her face. She hears voices, music. Vague shadows gather themselves into light and lines and images of tables, chairs, people’s faces. The woman makes excursions from her small house, goes to the market, occasionally visits a friend, drinks tea at cafés in good weather. She takes needles and yarn from the bottom drawer of her dresser and crochets. She smiles when she likes her work. One day her husband, with whitened face, is carried into her house. In hours, his cheeks become pink, he stands stooped over, straightens out, speaks to her. Her house becomes their house. They eat meals together, tell jokes, laugh. They travel through the country, visit friends. Her white hair darkens with brown streaks, her voice resonates with new tones. She goes to a retirement party at the gymnasium, begins teaching history. She loves her students, argues with them after class. She reads during her lunch hour and at night. She meets friends and discusses history and current events. She helps her husband with the accounts at his chemist’s store, walks with him at the foot of the mountains, makes love to him. Her skin becomes soft, her hair long and brown, her breasts firm. She sees her husband for the first time in the library of the university, returns his glances. She attends classes. She graduates from the gymnasium, with her parents and sister crying tears of happiness. She lives at home with her parents, spends hours with her mother walking through the woods by their house, helps with the dishes. She tells stories to her younger sister, is read to at night before bed, grows smaller. She crawls. She nurses.

Last night,” thought Will, “I dreamt I went to Manderley…

I know that with Michel and me there’s a feeling that the music’s stopped now and we’re relieved to find ourselves sitting together in the same chair. We don’t want to get out of it now.

Thirty minutes later, we reached the rocky Anjuna beach and parked the bike. We walked for five minutes and reached a shack called Curlies. We sat on adjacent easy chairs, both of us facing the Arabian Sea. I removed my sneakers to rest my feet on the sandy floor of Curlies. ‘Beer?’ Brijesh said. ‘Sure,’ I said. He asked a waiter to bring us two Kingfishers. Two tables away, I saw another Indian couple. The girl wore red and white bangles on both hands, a wedding chudaa; they had just gotten married. Must be their honeymoon. They held hands, but it seemed a little awkward. Arranged marriage, maybe. I looked at Brijesh. We would be a married couple too by this weekend. Brijesh smiled as he handed me a half-pint Kingfisher bottle. ‘What did you tell your folks?’ Brijesh said. ‘I told Aditi didi that I am going for a walk with you.’ ‘They don’t know you are at Anjuna?’ ‘No,’ I said, ‘mom will freak out.’ I sipped my beer. We watched the sun go down. A young singer at Curlies sang and played the guitar. The Goan sunset became even more poignant with the music. The singer sang Justin Bieber’s song, Sorry. Is it too late now to say sorry? Yeah, I know that I let you down

Nabbi’s restored my faith in dwarves, because it was in fact a claustrophobic tunnel. The ceiling was a low-clearance hazard. The walls were papered with old fight posters like DONNER THE DESTROYER VS. MINI-MURDER, ONE NIGHT ONLY! featuring pictures of muscular snarling dwarves in wrestling masks. Mismatched tables and chairs were occupied by a dozen mismatched dwarves—some svartalfs like Blitzen who could easily have passed for human, some much shorter guys who could have easily passed for garden gnomes. A few of the patrons glanced at us, but nobody seemed shocked that I was a human…if they even realized. The idea that I could pass for a dwarf was pretty disturbing. The most unreal thing about the bar was Taylor Swift’s “Blank Space” blasting from the speakers. “Dwarves like human music?” I asked Blitzen. “You mean humans like our music.” “But…” I had a sudden image of Taylor Swift’s mom and Freya having a girls’ night out in Nidavellir. “Never mind.

With the Allies on the advance nearly everywhere and invasion talk in the air, London was a welcoming place for young airmen who were taking the fight to Hitler’s doorstep. The first stop for American airmen was usually the nearest Red Cross Club, where helpful volunteers made bookings free of charge at commercial hotels or at one of the Red Cross’s own dormitory-like facilities. After checking in and dropping off their kits, most men headed straight for Rainbow Corner. Located on the corner of Shaftesbury Avenue and Piccadilly Circus, it was a place as close to home as a GI could find in all of England. Administered by the American Red Cross, Rainbow Corner had been designed “to create a strictly American atmosphere.” There was an exact replica of a small-town corner drugstore in the club’s basement, where ice-cold Cokes were sold for a nickel and grilled hamburgers for a dime. Upstairs, in the grand ballroom, servicemen danced with volunteer hostesses to the driving music of soldier bands—the Flying Forts, the Thunderbolts, the Sky Blazers. There was also a lounge with a jukebox and a small dance floor with tables and chairs around it. Lonely GIs dunking donuts in fresh coffee would loaf there, listening to the latest American hits. Rainbow Corner never closed its doors. The key had been symbolically thrown away the day of the grand opening in November 1942.

I suppose the most important memory is of Mr. Electrico. On Labor Day weekend, 1932, when I was twelve years old, he came to my hometown with the Dill Brothers…. He was a performer sitting in an electric chair and a stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end. I sat below, in the front row, and he reached down with a flaming sword full of electricity and he tapped me on both shoulders and then the tip of my nose and he cried, 'Live, forever!' And I thought, 'God, that’s wonderful. How do you do that?'...So when I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of 'Beautiful Ohio' and I cried. Tears streamed down my cheeks because I knew something important had happened to me that day because of Mr. Electrico. I felt changed. And so I went home and within days I started to write. And I’ve never stopped.

Now!’ Marvin interjected. ‘You must all be wondering why I invited you here. Well, you know why you’re here, Arthur; and I assume you’ve explained a little about the club to our members—’ ‘We’re looking at alternative truths, right?’ Bedivere asked. ‘The darker side to Britain, and all that.’ ‘Yes, yes, Bedivere, we shall cover that. We shall look at Europe, why we left and why ultimately the EU was disbanded; we shall look at the tragic situation in the United States, and we shall look at the abandonment of the Commonwealth states and the blight of Indonesia. But as well as that we shall also be looking closer to home, at our own histories, and I use the plural intentionally; at the rising rebels in the old Celtic countries, at the redefinition of New National Britain’s borders, and at our absolute ruler himself, George Milton, who thus far has used all his electoral power to claw hold of democratic immunity, whose Party has long since been a change-hand, change-face game of musical chairs with the same policies and people from one party to the next. This brings me to my former point of why I invited you here: because I believe that you three are the smartest, the most open, the most questioning, and that you will benefit most from hearing things from an alternative viewpoint—not always my own, and not always comfortable—that the three of you may one day take what you have learned here and remember it when the world darkens, and this country truly forgets that which it once was.’ There was a deep silence. Even Arthur, who was used to Marvin’s tangential speeches, was momentarily confounded, and in the quiet that followed he observed Bedivere to see what he thought of this side to their teacher. His eyes then slipped to Morgan, and he was surprised to find that she was transfixed. ‘But I must stress to all of you, it is my job at risk in doing this, my life at stake. So when you speak of this, speak only amongst yourselves, and tell no one what it is we discuss here. Understood?’ There was a series of dumbstruck nods of consent. Bedivere cleared his throat with a small cough. ‘And here I thought this was just going to be an extra-curricular history club,’ he joked.

Did you ever play that game as a child—the one where there's a circle of chairs, and when the music stops playing you have to find a chair to sit in? But there's never enough chairs for everyone, so one person is always left without a seat in the circle and then tossed out of the game. That's how I feel, as if I missed my chance at a chair and now I've been tossed out of the game.

The Halifax-Bank of Scotland merger brought to an end the greatest wave of consolidation in British banking history, wholly reshaping the industry in just a few years. It had begun with NatWest bidding for Legal & General; that caused the Bank of Scotland to make a surprise hostile bid for NatWest which it lost to Royal Bank of Scotland. In the meantime Lloyds bid for Abbey National which then approached Bank of Scotland – which merged with Halifax. It seemed like a great game of musical chairs, with Lloyds, which had earlier lost Midland to HSBC, the one left out.

The concert was over; the people filed out of the hall chattering and laughing, glad to relax and find the living level again, but my kinswoman made no effort to rise. The harpist slipped the green felt cover over his instrument; the flute-players shook the water from their mouth-pieces; the men of the orchestra went out one by one, leaving the stage to the chairs and music stands, empty as a winter cornfield. I spoke to my aunt. She burst into tears and sobbed pleadingly. “I don’t want to go, Clark, I don’t want to go!” I understood. For her, just outside the concert hall, lay the black pond with the cattle-tracked bluffs; the tall, unpainted house, with weather-curled boards, naked as a tower; the crook-backed ash seedlings where the dish-cloths hung to dry; the gaunt, moulting turkeys picking up refuse about the kitchen door.

He turned back to the old man, whose eyes were half closed to the music. Oblivious. Sweet and oblivious to the New World ways. “I love music,” Federico said and opened his eyes. “When I was a boy, minstrels and troubadours would visit our village from the spring through the summer. I would sit until my mother shooed me from the square—sometimes with a switch, yes?—and watch them play. The sounds. Ah, the sounds! Language is such a poor substitute. You see?” Danny shook his head. “I’m not sure.” Federico pulled his chair closer to the table and leaned in. “Men’s tongues fork at birth. It has always been so. The bird cannot lie. The lion is a hunter, to be feared, yes, but he is true to his nature. The tree and rock are true—they are a tree and rock. Nothing more, but nothing less. But man, the

Bob sat there stoned, his mind alternating between fantasies of gnawing on Hank's little fingers and pushing away the growing anxiety of graduation, with its implicit promises of a nine-to-five job, IRS-whittled paychecks, screaming kids, car in the shop, Pop in Ma's doghouse again, and settling into an easy chair watching the Reds and drinking a Schlitz for season after season until none of the kids could be sure where the chair ended and Pop began. And so on until death. Bob thought, If that guy can do it, I can. I'm going to learn to play the guitar.

Did you ever play that game as a child- the one where there's a circle of chairs, and when music stops playing you have to find a chair to sit in? But there's never enough chairs for everyone, so one person is always left without a seat in the circle and then tossed out of the game. That's how I feel, as if I missed my chance at a chair and now I've been tossed out of the game.

Her thighs felt slippery and her bottom could easily slide against the lining of her dress. Outside, her silken folds remained undisturbed. There was a woman on the stage straddling a cello, swaying herself behind it. Playing the cello or viola da gamba seemed to Martha at that moment to be about something else entirely than creating a sequence of sounds. “Yes, very much,” she said to Jeanne who shared her enthusiasm for the type of wine being served. The evening went on, the conversations picked up where they were abandoned, but Martha’s physical excitement persisted like a drone that only she could hear. When there was no release, her body went on elated. She must not look at Petra. When her breast accidentally touched the edge of the table, she moved her chair further back. Edges were risky, air was safe. How could they fail to see how searing she is inside? Maybe nobody saw anything because she blinded them. This propelled her through the evening and late into the night and still further on the ride back home.

Fern had no rhythm. Bailey wasn't much better. But his lack of skill wasn't exactly his fault. He moved his chair forward and back in a parody of the simple step-touch move everyone resorted to at a school dance. He bobbed his head in time with the music and his face wore an expression that said “Hell, yeah,” even though his body said “No way.

So where’s your kitchen general?” Val asked as they settled in for a brandy in wing chairs before the hearth in the library. “She missed tea and dinner.” “She’s asleep.” St. Just had sent a tray up to her at teatime, then checked on her just an hour or so ago. The food was half gone, and the kitchen general was facedown on her bed, one foot still wearing its stocking. He’d wrestled her out of her clothes and tucked her in, all without her even opening both eyes. “She’s the prettiest kitchen general I can recall meeting,” Val said, toeing off his boots. “And she looks at you like you are the world’s largest chocolate cream cake.” “She does not.” She might have once upon a dark night, but she was obviously retrenching from that happy aberration. “She does too. When you’re out there on your horses, she glances repeatedly out the window, then just stops and stares and sighs and shakes her head and starts glancing again. When she came into the music room looking for the child, she asked me what kind of music you like best.” “I

I made myself listen to the music I loved as I worked. I would not be a coward anymore. If I acted like a lunatic, so be it! In my mind I raged and I vowed that Samuel’s leaving would not make me resort to musical holocaust. I was done with that nonsense! I played Grieg until my fingers were stiff, and I worked with the frenzy of Balakirev’s ‘Islamey’ pounding out of the loud speakers. My dad came inside during that one and turned around and walked right back out again. On day 15, I made a chocolate cake worthy of the record books. It was disgustingly rich and fattening, teetering several stories high, weighing more than I did, laden with thick cream cheese frosting, and sprinkled liberally with chocolate shavings. I sat down to eat it with a big fork and no bib. I dug in with a gusto seen only at those highly competitive hotdog eating contests where the tiny Asian girl kicks all the fat boys’ butts. “JOSIE JO JENSEN!” Louise and Tara stood at the kitchen door, shock and revulsion, and maybe just a little envy in their faces. Brahms ‘Rhapsodie No. 2 in G Minor’ was making my little kitchen shake. Eating cake to Brahms was a new experience for me. I liked it. I dug back in, ignoring them. “Well Mom,” I heard Tara say, “what should we do?!” My Aunt Louise was a very practical woman. “If you can’t beat ’em, join ’em!” She quoted cheerfully. Before I knew it, Tara and Louise both had forks, too. They didn’t seem to need bibs either. We ate, increasing our tempo as the music intensified. “ENOUGH!” My dad stood in the doorway. He was good and mad, too. His sun-browned face was as ruddy as my favorite high heels. “I sent you two in for an intervention! What is this?! Eater’s Anonymous Gone Wild?” “Aww, Daddy. Get a fork,” I replied, barely breaking rhythm. My dad strode over, took the fork from my hand and threw it, tines first, right into the wall. It stuck there, embedded and twanging like a sword at a medieval tournament. He pulled out my chair and grabbed me under the arms, pushing me out of the kitchen. I tried to take one last swipe at my cake, but he let out this inhuman roar, and I abandoned all hope of making myself well and truly sick. “Tara! Aunt Louise!” I shouted frantically. “I want you gone!!! That’s my cake! You can’t have any more without me!” My dad pushed me through the front door and out onto the porch, the screen banging behind him. I sunk to the porch swing, sullenly wiping chocolate crumbs from my mouth. My dad stomped back inside the house and suddenly the music pouring from every nook and cranny stopped abruptly. I heard him tell Louise he’d call her later, and then the kitchen door banged, indicating my aunt’s and Tara’s departure. Good. They would have eaten that whole cake. I saw the way they were shoveling it in.

I’ve got a better idea,” says my mother. “Tell me about what you did today. Tell me about New York.” So I do, I tell the lifelong New Yorker who chucked it for the woods about the streets of the city: how the subway was so crowded this morning I had to let four trains pass in a row and I was a half hour late to work; how I had a meeting in Times Square and I saw an army of painted topless women posing with tourists for money; how I saw two people dressed up as Disney characters get into a fistfight; how I ate a hot dog from a stand after my client meeting bombed and when I finished it I ate another, on one of the chairs scattered in Bryant Park. A string quartet was playing nearby, under a sponsor banner. “The music part was the part that saved me,” I say. “All of it would have saved me,” says my mother.

Shoulder the Sky is another story about Mureth Farm and Drumburly and the people who live there; it continues the theme of Vittoria Cottage and Music in the Hills but it is a complete novel in itself. The three books are merely strung together by the story of James and Rhoda and their friends. Mureth and Drumburly are not real places in the geographical sense of the word. There is no metalled road that leads to Drumburly (the best road to take is an easy chair before the fire on a winter’s evening), but the picture represented is artistically true of the Scottish Border Country; of the rolling hills, the rivers and the burns, of the storms and the sunshine. So, in one sense, Drumburly is real and in another it is imaginary — and the same is true of the characters in the story; they are not real individuals and yet they are true to life. To me they are real and human for I have been living amongst them and sharing their joys and sorrows for months on end. Now the time has come for me to leave Drumburly and say good-bye. D. E. STEVENSON 

Buddhists sharply distinguished Zazen from Yoga, and have the method peculiar to themselves. Kei-zan[FN#244] describes the method to the following effect: 'Secure a quiet room neither extremely light nor extremely dark, neither very warm nor very cold, a room, if you can, in the Buddhist temple located in a beautiful mountainous district. You should not practise Zazen in a place where a conflagration or a flood or robbers may be likely to disturb you, nor should you sit in a place close by the sea or drinking-shops or brothel-houses, or the houses of widows and of maidens or buildings for music, nor should you live in close proximity to the place frequented by kings, ministers, powerful statesmen, ambitious or insincere persons. You must not sit in Meditation in a windy or very high place lest you should get ill. Be sure not to let the wind or smoke get into your room, not to expose it to rain and storm. Keep your room clean. Keep it not too light by day nor too dark by night. Keep it warm in winter and cool in summer. Do not sit leaning against a wall, or a chair, or a screen. You must not wear soiled clothes or beautiful clothes, for the former are the cause of illness, while the latter the cause of attachment. Avoid the Three Insufficiencies-that is to say, insufficient clothes, insufficient food, and insufficient sleep. Abstain from all sorts of uncooked or hard or spoiled or unclean food, and also from very delicious dishes, because the former cause troubles in your alimentary canal, while the latter cause you to covet after diet. Eat and drink just too appease your hunger and thirst, never mind whether the food be tasty or not. Take your meals regularly and punctually, and never sit in Meditation immediately after any meal. Do not practise Dhyana soon after you have taken a heavy dinner, lest you should get sick thereby. Sesame, barley, corn, potatoes, milk, and the like are the best material for your food. Frequently wash your eyes, face, hands, and feet, and keep them cool and clean. [FN#243]

Everybody, will you please just sit for a minute? Like children in a game of musical chairs, Tommy's three guests immediately reach for the nearest chair, pull it out from the table, and sit---even her brother. Well, says Tommy. Something in my life goes according to plan.

These boozy and licentious variety halls thrived on the patronage of civil War soldiers on furlough, prompting moralists to persuade the city to require in 1862 that all theatrical and musical performing spaces be licensed and that the sale of liquor and employment of “waitresses” be banned wherever a curtain separated performers from customers. Entrepreneurs of leisure promptly dove through this loophole by inaugurating nightspots that featured a raised platform in the rear, a piano, and an open dance floor surrounded by tables and chairs.

A graceless pastor is a blind man elected to a professorship of optics, philosophizing upon light and vision, discoursing upon and distinguishing to others the nice shades and delicate blendings of the prismatic colours, while he himself is absolutely in the dark! He is a dumb man elevated to the chair of music; a deaf man fluent upon symphonies and harmonies! He is a mole professing to educate eaglets; a limpet elected to preside over angels.

So they went out for a walk. They went through narrow, lightless lanes, where houses that were silent but gave out smells of fish and boiled rice stood on either side of the road. There was not a single tree in sight; no breeze and no sound but the vaguely musical humming of mosquitoes. Once, an ancient taxi wheezed past, taking a short-cut through the lane into the main road, like a comic vintage car passing through a film-set showing the Twenties into the film-set of the present, passing from black and white into colour. But why did these houses – for instance, that one with the tall, ornate iron gates and a watchman dozing on a stool, which gave the impression that the family had valuables locked away inside, or that other one with the small porch and the painted door, which gave the impression that whenever there was a feast or a wedding all the relatives would be invited, and there would be so many relatives that some of them, probably the young men and women, would be sitting bunched together on the cramped porch because there would be no more space inside, talking eloquently about something that didn’t really require eloquence, laughing uproariously at a joke that wasn’t really very funny, or this next house with an old man relaxing in his easy-chair on the verandah, fanning himself with a local Sunday newspaper, or this small, shabby house with the girl Sandeep glimpsed through a window, sitting in a bare, ill-furnished room, memorising a text by candlelight, repeating suffixes and prefixes from a Bengali grammar over and over to herself – why did these houses seem to suggest that an infinitely interesting story might be woven around them? And yet the story would never be a satisfying one, because the writer, like Sandeep, would be too caught up in jotting down the irrelevances and digressions that make up lives, and the life of a city, rather than a good story – till the reader would shout "Come to the point!" – and there would be no point, except the girl memorising the rules of grammar, the old man in the easy-chair fanning himself, and the house with the small, empty porch which was crowded, paradoxically, with many memories and possibilities. The "real" story, with its beginning, middle and conclusion, would never be told, because it did not exist.

answer. Donald’s dysfunctional belief was related to Janine’s, but he’d held on to it for much longer—a life of responsible and successful work should make him happy. It should be enough? But Donald had another dysfunctional belief: that he couldn’t stop doing what he’d always done. If only the guy in the mirror could have told him that he was not alone, and he did not have to do what he had always done. In the United States alone, more than thirty-one million people between ages forty-four and seventy want what is often called an “encore” career—work that combines personal meaning, continued income, and social impact. Some of those thirty-one million have found their encore careers, and many others have no idea where to begin, and fear it’s too late in life to make a big change. Dysfunctional Belief: It’s too late. Reframe: It’s never too late to design a life you love. Three people. Three big problems. Designers Love Problems Look around you. Look at your office or home, the chair you are sitting on, the tablet or smartphone you may be holding. Everything that surrounds us was designed by someone. And every design started with a problem. The problem of not being able to listen to a lot of music without carrying around a suitcase of CDs is the reason why you can listen to three thousand songs on a one-inch square object clipped to your shirt. It’s only because of a problem that your phone fits perfectly in the palm of your hand, or that your laptop gets five hours of battery life, or that your alarm clock plays the sound of chirping birds. Now, the annoying sound of an alarm clock may not seem like a big problem in the grand scheme of things, but it was problem

A so-called Len Bias case is based in federal law. Under that law, a person who supplies drugs that cause a fatal overdose may be charged with a conspiracy that results in death—a charge that carries a twenty-year prison sentence. Cops have to prove the person died from the suspect’s drugs; a chain of custody has to be established. But if they can do that, they have a powerful prosecutorial tool and one that was getting a closer look in many parts of the country as the opiate epidemic and fatal drug overdoses spread across the nation. One place that refined the strategy was Portland, Oregon. The benefit prosecutors see in Len Bias is that it allows investigators to work up a chain of drug distribution. To save himself from a Len Bias prosecution, a dealer needs to flip, and quickly, burning the dealer one link above him in the chain, hoping for leniency at sentencing time. The last man detectives can trace the drugs to faces the twenty years if convicted—a fateful game of musical chairs.

One of my most favored day fancies creates a fool drama that goes something like this: It is evening. We have had our supper and the dishes have been washed and put away. Ima Dean and Romey are in chairs in the sitting room reading books. Though there is candy in the sack on the table they have remembered we cannot afford trips to the dentist and are munching fruit. The pages which so absorb them are taking them to faraway borders and on the way they are being introduced to great men and great women. They have come around to my way of thinking. We do not need television. It’s fare is pretty dull and slovenly compared to the excitement and order there is to be found in the written word. I go to my room and open the door and look in. The sewing machine is gone. During our day’s absence somebody has come and swiped it. I go back to the sitting room and make my spooky announcement. “The sewing machine is gone. Somebody has swiped it.” “I’m glad,” says Ima Dean, throwing her legs over the arm of her chair. “Old no-account hunk of garbage. Mrs. Connell knew it was on its last legs when she gave it to us for five dollars. I thank whoever took it. The only thing makes me mad is it didn’t happen sooner. Nobody should have to drive themselves crazy learning how to sew after they’ve worked all day at making a living. Don’t fret, Mary Call. I don’t need any new dresses. When I start to school again if people don’t like the way I look in my old ones they can look the other way. We don’t owe anybody anything and this is a free country. If I went to school in a gunnysack wouldn’t be anybody’s business but yours and mine. Clothes aren’t important, it’s brains that count. My, this is a good book. When I grow up I think I’m going to be a medical missionary and go somewheres far off and work. I don’t want to waste my life. I want it to count for something and be of some good to humanity.” “I have decided either to become an explorer or an archaeologist,” says Romey. “I haven’t settled on which yet but either way I won’t be wasting my life either. I’ll be working for the good of humanity too. You are raising Ima Dean and me right, Mary Call, and we will always be grateful to you for the way you have sacrificed yourself for us.” End of dream. The sewing machine has not been swiped. Ima Dean and Romey have not forgotten we don’t have television. They don’t give a whoop or a holler about the great men and great women in our history. Or about humanity or what sacrifices I might be making for their good. Distant shores do not beckon them. They spend their evenings wrangling with each other and listening to radio music. Sometimes, when they feel kind toward each other, they dance. I love these two but can hardly stand them.

This is my favorite waltz," she told him, moving into his arms. "I know. That's why I requested it." "How did you know?" she asked with an incredulous laugh. "I suppose one of the Bowman sisters told you?" Simon shook his head, while his gloved fingers curved around hers. "On more than one occasion, I saw your face when they played it. You always looked ready to fly out of your chair." Annabelle's lips parted in surprise, and she stared up at him with a wondering gaze. How could he have noticed something so subtle? She had always been so dismissive of him, and yet he had noticed her reaction to a particular piece of music and remembered it. The realization brought the sting of tears to her eyes, and she looked away immediately, fighting to bring the sudden baffling swell of emotion under control.

On the other stage, there was a girl who looked like a mix of Japanese and something Mediterranean or Latin. A good mix. She had that silky, almost shimmering black hair so many modern Japanese women like to ruin with chapatsu dye, worn short and swept over from the side. The shape of the eyes was also Japanese, and she was on the petite side. But her skin, a smooth gold like melted caramel, spoke of something else, something tropical. Her breasts and hips, too, appealingly full and slightly incongruous on her Japanese-sized frame, suggested some foreign origin. She was using the pole skillfully, grabbing it high, posing with her body held rigid and parallel to the floor, then spiraling down in time to the music. There was real vitality in her moves and she didn’t seem to mind that most of the patrons were focused on the blonde. Mr. Ruddy held out a chair for me at an empty table in the center of the room. After a routine glance to ensure the seat afforded a proper view of the entrance, I sat. I wasn’t displeased to see that I also had a good view of the stage where the dark-haired girl was dancing. “Wow,” I said in English, looking at her. “Yes, she is beautiful,” he replied, also in English. “Would you like to meet her?” I watched her for another moment before answering. I didn’t want to wind up with one of the Japanese girls here. I would have a better chance of creating rapport, and therefore of eliciting information, by chatting with a foreigner while playing the role of foreigner. I nodded.

waited a minute and knocked louder. The Bee Gees continued to blare from downstairs. I figured Margaret's dad didn't hear me through the thick door and the music. "Mr. Sanders," I said as I eased open the door. I didn't want to startle him. As I entered, my shoe slipped on something. I lifted my foot and discovered a small capsule crushed under my heel. That's when I noticed pills scattered everywhere, and Harold Sanders lying on the floor. The desk chair and lamp were knocked over. I rushed to his side, rolled him on his back, and checked to see if he was breathing. No luck. I started CPR

I’ve just been to see Audrey,” Beatrix said breathlessly, entering the private upstairs parlor and closing the door. “Poor Mr. Phelan isn’t well, and--well, I’ll tell you about that in a minute, but--here’s a letter from Captain Phelan!” Prudence smiled and took the letter. “Thank you, Bea. Now, about the officers I met last night…there was a dark-haired lieutenant who asked me to dance, and he--” “Aren’t you going to open it?” Beatrix asked, watching in dismay as Prudence laid the letter on a side table. Prudence gave her a quizzical smile. “My, you’re impatient today. You want me to open it this very moment?” ”Yes.” Beatrix promptly sat in a chair upholstered with flower-printed fabric. “But I want to tell you about the lieutenant.” “I don’t give a monkey about the lieutenant, I want to hear about Captain Phelan.” Prudence gave a low chuckle. “I haven’t seen you this excited since you stole that fox that Lord Campdon imported from France last year.” “I didn’t steal him, I rescued him. Importing a fox for a hunt…I call that very unsporting.” Beatrix gestured to the letter. “Open it!” Prudence broke the seal, skimmed the letter, and shook her head in amused disbelief. “Now he’s writing about mules.” She rolled her eyes and gave Beatrix the letter. Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included

I’ve been watching him for any signs that he’s still upset. I know he was scared by what he saw in town, I saw it in his face. But as he tidied up the living-room, set out the camping chairs, opened another beer, there was no sign of any fear left. He started whistling and put some music on. It’s gone: the anxiety has passed through him quick as clouds across a blue, wind-blown sky.

He’s not even singing,” Tobin whispers to Daphne. They sit on the other side of the half circle of chairs in the music room. It’s amusing that he thinks I don’t know what he’s saying. I can’t actually hear their words over the singing, but I have spent the weekend mastering the art of lipreading. What isn’t amusing, however, is that Tobin has caught on to the fact that I’m merely moving my own lips along with the rest of the choir. Daphne looks up at me. I stare down at the songbook in my hands. Maybe I should try singing along, but I don’t know how to make my voice do what hers does, even if I want to. I feel her gaze leave me and I glance back at her. “Maybe he’s just intimidated,” Daphne says. “It’s his first day in the program.” My hands grow hot at the idea that she thinks I am afraid. I take a deep breath, tempering myself before I set the songbook on fire.

My secret name for the annex was "the hen-coop". Glued to the nesting boxes of their favorite wicker chairs, the inmates sat click-clacking knitting needles, hatching balls of wool, their silence pierced only by an occasional frail voice of meaningless conversation. Flapping imaginary wings, "Cock-a-doodle-dooing," and "Chook-chooking", I ran through crowing, but not so loudly as to frighten them or be rude. I see now the old women's pinched faces, stiff and severe as the potted aspidistras beside them, only masked despair. With nothing to do but breathe, they knitted and crocheted memories and lost dreams into tangible objects. On the hour as though on cue, the old chickens roused, froze suddenly still, before exchanging smiles and nodding some shared secret to one another as the wild music from Bruges' church bells rang out the time from the many belfries, rattling teh panes and vibrating through the "hen house" with deep echoes. And I'd leap to the wild music - a dancing puppet pulled by unseen strings.

After Jimena left, Serena sat in a chair and set her cello on the end pin between her knees. She loved the way she had to hug the cello when she played. She dreamed of meeting her idols some day in a master class or onstage, someone like Yo-Yo Ma or Han-Na Chang. She picked up her bow and began to play. The music flowed around her, sad and filled with longing.

Snacks? What kind of snacks?” I asked. “Something called chips, which are made from potatoes, and different kinds of candies.” “Oh, you’re gonna sell candy, too?” “Yeah, but totally different from the candy shop.” “I see.” “I hope you’ll come by for the grand opening.” “When is it?” “Hopefully, next week. I’ll let you know.” I nodded. “Okay, I’ll try to make it, Tes.” “Cool. Thank you. Alright, I’m going to get some more food,” he said and left. A few minutes later, Maky got on the microphone and announced that the dancing portion of the night was going to start soon. “Woohoo! It’s dancing time,” said Arthur excitedly. “You know who I’m going to ask to dance with me?” “Who?” I asked. “Autumn,” answered Pierce. “Yup! Hopefully, she’ll agree.” “What about you, Pierce? Are you gonna ask anyone to dance?” “Um, I don’t know. Maybe I’ll just dance by myself or with a group of friends,” the knight answered. “Cool…” I said sadly because I felt a little bit left out. “Or you know, maybe I’ll just hang out with you.” “Naw, I’m fine. You don’t have to keep me company.” Then suddenly, music started playing from the speakers that were set up at all the four corners of the city square. “Oh, here we go! I’ll be back later,” said Arthur as he took off to find Autumn. As the music played, I looked around for Maky’s band, but they were nowhere in sight. “Hm. This music must be coming from the jukebox,” I said. “Yeah, I don’t think Maky is playing tonight,” said Pierce. “She’s not? Why not? They’re super good.” “I don’t know, Steve.” “Hm. Oh, look. People are starting to take to the dance floor.” Slowly, a couple of villagers made their way toward the center of the city square. They were nervous about being the first ones, but soon after, many others followed their lead. Before I knew it, there were a ton of villagers in the middle, jumping up and down and dancing to the music. “That looks like fun…” I said. “Yeah…” said Pierce. “You should go join them.” “N-nah. I like sitting here.” Right when Pierce said that, someone came by and grabbed his hand and pulled him to the dance floor. “Come on, Pierce, let’s show them how it’s done,” said Leila. “B-but I’m not that good!” said Pierce. I tried my best to smile and said, “Have fun…” With my fake smile on, I watched as Pierce was dragged into the middle. Leila had stolen my only company away from me, and that made me feel super left out. I sighed and thought to myself, I wish I was out of this chair already. But I knew I didn’t have a choice, so I just sat in my chair and nodded along to the music. A few minutes later, the first song ended and the next one came on. I just continued sitting there while watching my friends have fun. In the middle, I could see Arthur dancing with Autumn, Cindy dancing with Arceus, and Leila dancing with Pierce. Shortly after, someone came by to talk to me. “Hey, Steve! How ya doing?” Maky asked while breathing hard. “Maky? Why aren’t you playing tonight?” I asked. “Oh, because I wanted to dance and have fun tonight. I mean, playing my instrument is fun, too, but dancing is a different kind of fun.” “I see.” “So, what are you doing over here? You don’t want to join the fun?” “Uh, there’s not much fun to be had when I’m stuck in a wheel chair.” “Oh, that’s nonsense!” Then she ran behind my chair, tilted it slightly backwards and pushed me off toward the middle of the dance floor. “Whoa! What are you doing?!” “We’re going to dance!” “Huh?!

education and money. I go to church with the kids for the same reason Genie and I play our grandchildren classical music and litter the floors and chairs all over our home with open art books. Jack, age three, eats his lunch with a big Goya book propped in front of him asking for the

are important sources of emotional, creative and spiritual nourishment for me. It seems there is never enough space at our kitchen table; the children need a surface to draw on, between the flowers and fruit bowls, and sometimes it feels like a game of musical chairs to seat everyone

sometimes it feels like a game of musical chairs to seat everyone for meals. It gets noisy too. Cheka giggles all the way through her three helpings of food, while Francis forsakes his meal because he is so busy entertaining her. It is a joy to bake after

between the flowers and fruit bowls, and sometimes it feels like a game of musical chairs to seat everyone for meals. It gets noisy too. Cheka giggles all the way through her three helpings of food, while Francis forsakes his meal because he is so busy entertaining her. It is a joy to bake

the children need a surface to draw on, between the flowers and fruit bowls, and sometimes it feels like a game of musical chairs to seat everyone for meals. It gets noisy too. Cheka