Objects In The Mirror Quotes

Because while the truncheon may be used in lieu of conversation, words will always retain their power. Words offer the means to meaning, and for those who will listen, the enunciation of truth. And the truth is, there is something terribly wrong with this country, isn't there? Cruelty and injustice, intolerance and oppression. And where once you had the freedom to object, to think and speak as you saw fit, you now have censors and systems of surveillance coercing your conformity and soliciting your submission. How did this happen? Who's to blame? Well certainly there are those more responsible than others, and they will be held accountable, but again truth be told, if you're looking for the guilty, you need only look into a mirror. I know why you did it. I know you were afraid. Who wouldn't be? War, terror, disease. There were a myriad of problems which conspired to corrupt your reason and rob you of your common sense.

It’s important that someone celebrate our existence," she objected amiably. "People are the only mirror we have to see ourselves in. The domain of all meaning. All virtue, all evil, are contained only in people. There is none in the universe at large. Solitary confinement is a punishment in every human culture.

Houses are really bodies. We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and bloodstream. I am no beauty, no mirror is necessary to assure me of this absolute fact. Nevertheless I have a death grip on this haggard frame as if it were the limpid body of Venus herself.

The earth is literally a mirror of thoughts. Objects themselves are embodied thoughts. Death is the dark backing that a mirror needs if we are to see anything.

Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.

Hope, objects in mirror than they appear.

The physical body is an agent of the spirit and its mirror. It is an engine and a reflection of the spirit. It is the spirit's ingenious memorandum to itself and the spirit sees itself in my body, just as I see my own face in a looking glass. My nerves reflect this. The earth is literally a mirror of thoughts. Objects themselves are embodied thoughts. Death is the dark backing that a mirror needs if we are to see anything.

Be like water making its way through crack. Do not be assertive but adjust to the object and you shall find a way round it or through it. If nothing within you stays rigid outward thigs will disclose themselves. Moving be like water. Still be like a mirror. Respond like an echo.

Human beings like to see themselves reflected in clouded mirrors.

The act of writing itself is much like the construction of a mirror made of words. Looking at certain illuminated corners of or cracks within the mirror, the author can see fragments of an objective reality that comprise the physical universe, social communities, political dynamics, and other facets of human existence. Looking in certain other corners of the same mirror, he or she may experience glimpses of a True Self sheltered deftly behind a mask of public proprieties.

The loved object is simply one that has shared an experience at the same moment of time, narcissistically; and the desire to be near the beloved object is at first not due to the idea of possessing it, but simply to let the two experiences compare themselves, like reflections in different mirrors. All this may precede the first look, kiss, or touch; precede ambition, pride, or envy; precede the first declarations which mark the turning point—for from here love degenerates into habit, possession, and back to loneliness.

We have a soul at times. No one’s got it non-stop, for keeps. Day after day, year after year may pass without it. Sometimes it will settle for awhile only in childhood’s fears and raptures. Sometimes only in astonishment that we are old. It rarely lends a hand in uphill tasks, like moving furniture, or lifting luggage, or going miles in shoes that pinch. It usually steps out whenever meat needs chopping or forms have to be filled. For every thousand conversations it participates in one, if even that, since it prefers silence. Just when our body goes from ache to pain, it slips off-duty. It’s picky: it doesn’t like seeing us in crowds, our hustling for a dubious advantage and creaky machinations make it sick. Joy and sorrow aren’t two different feelings for it. It attends us only when the two are joined. We can count on it when we’re sure of nothing and curious about everything. Among the material objects it favors clocks with pendulums and mirrors, which keep on working even when no one is looking. It won’t say where it comes from or when it’s taking off again, though it’s clearly expecting such questions. We need it but apparently it needs us for some reason too.

We want to get behind the beauty, but it is only a surface. It is like a mirror that reflects to us our own desire for good. It is a sphinx, an enigma, a sorrowfully irritating mystery. We want to feed on it, but it is only an object we can look on; it appears to us from a certain distance. The great sorrow of human life is knowing that to look and to eat are two different operations. Only on the other side of heaven, where God lives, are they one and the same operation. Children already experience this sorrow when they look at a cake for a long time and nearly regret eating it, but are powerless to help themselves. Maybe the vices, depravities and crimes are nearly always or even always in their essence attempts to eat beauty, to eat what one can only look at. Eve initiated this. If she lost our humanity by eating a fruit, the reverse attitude— looking at a fruit without eating it— must be what saves.

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

Stop looking backward. Life isn’t lived in that direction. Your future isn’t in that direction. It’s forward, out into the horizon ahead of you.

The mirror knows you're anxious to see yourself — but take your time, it says. I'm here when you're ready, and not a second before. It is the kindest object placement I've ever seen.

How promising you are as a Student of the Game is a function of what you can pay attention to without running away. Nets and fences can be mirrors. And between the nets and fences, opponents are also mirrors. This is why the whole thing is scary. This why all opponents are scary and weaker opponents are especially scary. See yourself in your opponents. They will bring you to understand the Game. To accept the fact that the Game is about managed fear. That its object is to send from yourself what you hope will not return.

Love at first sight is a hypnosis: I am fascinated by an image: at first shaken, electrified, stunned, "paralysed" as Menon was by Socrates, the model of loved objects, of captivating images, or again converted by an apparition, nothing distinguishing the path of enamoration from the Road to Damascus; subsequently ensnared, held fast, immobilised, nose stuck to the image (the mirror). In that moment when the other's image comes to ravish me for the first time, I am nothing more than the Jesuit Athanasius Kirchner's wonderful Hen: feet tied, the hen went to sleep with her eyes fixed on the chalk line, which was traced not far from her beak; when she was untied, she remained motionless, fascinated, "submitting to her vanquisher," as the Jesuit says (1646); yet, to waken her from her enchantment, to break off the violence of her Image-repertoire (vehemens animalis imaginatio), it was enough to tap her on the wing; she shook herself and began pecking in the dust again.

Women were considered the snare of the Devil, while at the same time the cult of the Virgin made one woman the central object of love and adoration.

The destiny of the logos was not the printed page. A mirror can only reflect the object; likewise, the purpose of the page was only to reflect the message which is “Christ in you.

I’d rather spend every day of my life in hell with you than a single day in heaven with you nowhere to be found.

I let you drag me here because there isn’t a place in the world I would rather be than wherever you go.

Hold childhood in reverence, and do not be in any hurry to judge it for good or ill. Leave exceptional cases to show themselves, let their qualities be tested and confirmed, before special methods are adopted. Give nature time to work before you take over her business, lest you interfere with her dealings. You assert that you know the value of time and are afraid to waste it. You fail to perceive that it is a greater waste of time to use it ill than to do nothing, and that a child ill taught is further from virtue than a child who has learnt nothing at all. You are afraid to see him spending his early years doing nothing. What! is it nothing to be happy, nothing to run and jump all day? He will never be so busy again all his life long. Plato, in his Republic, which is considered so stern, teaches the children only through festivals, games, songs, and amusements. It seems as if he had accomplished his purpose when he had taught them to be happy; and Seneca, speaking of the Roman lads in olden days, says, "They were always on their feet, they were never taught anything which kept them sitting." Were they any the worse for it in manhood? Do not be afraid, therefore, of this so-called idleness. What would you think of a man who refused to sleep lest he should waste part of his life? You would say, "He is mad; he is not enjoying his life, he is robbing himself of part of it; to avoid sleep he is hastening his death." Remember that these two cases are alike, and that childhood is the sleep of reason. The apparent ease with which children learn is their ruin. You fail to see that this very facility proves that they are not learning. Their shining, polished brain reflects, as in a mirror, the things you show them, but nothing sinks in. The child remembers the words and the ideas are reflected back; his hearers understand them, but to him they are meaningless. Although memory and reason are wholly different faculties, the one does not really develop apart from the other. Before the age of reason the child receives images, not ideas; and there is this difference between them: images are merely the pictures of external objects, while ideas are notions about those objects determined by their relations.

Maybe nobody ever saw themselves completely objectively. Every self-image needs a flattering mirror or two.

A man's face is the surface of a pond, reflecting the sky, reflecting the trees, reflecting whatever is the object of his gaze and his love, the reflection hiding his depths. But when the wave passes, in the swell, for an instant, you can see what lies beneath the waters.

To say he felt guilty would ascribe to him ethical borders that were lines on a map of a country that no longer existed. At least, that's what he told himself. Better to deny the existence of objective morality than to live in its shadow. Better to tell yourself that the world of right and wrong is not the world you belong to. In the bathroom mirror he saw the face of a man his seventeen-year-old self would have disdained with the vanity of someone yet unaware of the many means the world has to break him.

The Stoic discovers the model for his virtuous conduct in studying the laws of nature; just as each object, plant, and animal serves its fated role in the larger order, so the human strives to steer his actions in accordance with his unique power, reason, his inner mirror of the logos that governs the universe.

the desire to be near the beloved object is at first not due to the idea of possessing it, but simply to let the two experiences compare themselves, like reflections in different mirrors... For from here love degenerates into habit, possession, and back to loneliness.

I had actually been pissed off at the mirror for hurting her. Who gets fucking mad at an object?

Hope, objects in mirror are closer than they appear.

The sense of literary creation is to portray ordinary objects as they will be reflected in the kindly mirrors of future times; to find in the objects around us the fragrant tenderness that only posterity will discern and appreciate in far-off times when every trifle of our plain everyday life will become exquisite and festive in its own right: the times when a man who might put on the most ordinary jacket of today will be dressed up for an elegant masquerade.

He who despises himself, nevertheless esteems himself as a self-despiser. (Nietzsche.) A vain person is always vain about something. He overestimates the importance of some quality or exaggerates the degree to which he possesses it, but the quality has some real importance and he does possess it to some degree. The fantasy of overestimation or exaggeration makes the vain person comic, but the fact that he cannot be vain about nothing makes his vanity a venial sin, because it is always open to correction by appeal to objective fact. A proud person, on the other hand, is not proud of anything, he is proud, he exists proudly. Pride is neither comic nor venial, but the most mortal of all sins because, lacking any basis in concrete particulars, it is both incorrigible and absolute: one cannot be more or less proud, only proud or humble. Thus, if a painter tries to portray the Seven Deadly Sins, his experience will furnish him readily enough with images symbolic of Gluttony, Lust, Sloth, Anger, Avarice, and Envy, for all these are qualities of a person’s relations to others and the world, but no experience can provide an image of Pride, for the relation it qualifies is the subjective relation of a person to himself. In the seventh frame, therefore, the painter can only place, in lieu of a canvas, a mirror.

The genius of Cornell is that he sees and enables us to see with the eyes of childhood, before our vision got clouded by experience, when objects like a rubber ball or a pocket mirror seemed charged with meaning, and a marble rolling across a wooden floor could be as portentous as a passing comet.

...the whole universe is contagious if you look at it long enough. Just opening your eyes puts you in front of a mirror, psychologically speaking. Garbage in, garbage out. Or rather, garbage goes in, but you never get rid of it. It just lies there turning to dust and slowly wafting a thin layer of grime on to every other object in your brain. Scraping the gunk off is not only a major challenge, but the chief burden of human existence. that's why I keep things so clean. Otherwise I would see little flecks of [ ] shit everywhere I looked ...

When we think back on our past sensations and feelings, our thought is a faithful mirror that copies its objects truly; but it does so in colours that are fainter and more washed-out than those in which our original perceptions were clothed.

It is said that the boldest thing you can do is think for yourself, but I believe that it is bolder still to act on those thoughts and ideas despite certain criticism and objections. To be true to yourself—to look straight into your own eyes reflected in the mirror and be loyal to the person you see—is to be bold indeed.

CELL Now look objectively. You have to admit the cancer cell is beautiful. If it were a flower, you'd say, How pretty, with its mauve centre and pink petals of if a cover for a pulpy thirties sci-fi magazine. How striking: as an alien, a success, all purple eye and jelly tentacles and spines, or are they gills, creeping around on granular Martian dirt red as the inside of the body, while its tender walls expand and burst, its spores scatter elsewhere, take root, like money, drifting like a fiction or miasma in and out of people's brains, digging themselves industriously in. The lab technician says, It has forgotten how to die. But why remember? All it wants is more amnesia. More life, and more abundantly. to take more. to eat more. To replicate itself. To keep on doing those things forever. Such desires are not unknown. Look in the mirror.

Consumer culture is best supported by markets made up of sexual clones, men who want objects and women who want to be objects, and the object desired ever-changing, disposable, and dictated by the market. The beautiful object of consumer pornography has a built-in obsolescence, to ensure that as few men as possible will form a bond with one woman for years or for a lifetime, and to ensure that women's dissatisfaction with themselves will grow rather than diminish over time. Emotionally unstable relationships, high divorce rates, and a large population cast out into the sexual marketplace are good for business in a consumer economy. Beauty pornography is intent on making modern sex brutal and boring and only as deep as a mirror's mercury, anti-erotic for both men and women.

What is at stake here is a totally new unity of form, meaning and feeling: language-images that cannot simply be thought up or written up … They constitute new, multifaceted objects, resembling polyplanes made of mirrors … As if the illogical was relaxation, as if laughter was permitted while thinking, as if error was a way and chance, a proof of eternity.

Face-to-face with a computer, people reflected on who they were in the mirror of the machine.

It’s girls who hide objects inside other objects—jewelry boxes, hope chests, dollhouses, decorative compacts with mirrors inside, boxes of love notes, tampons.

On the whole, it was not the crudest, the simplest, the most animalistic and primitive aspects of the human species that were reflected in the natural phenomena. It was, rather, the more complex, the aesthetic, the intricate, and the elegant aspects of people that reflected nature. It was not my greed, my purposiveness, my so-called 'animal,' so-called 'instincts,' and so forth that I was recognizing on the other side of that mirror, over there in 'nature.' Rather, I was seeing there the roots of human symmetry, beauty and ugliness, aesthetics, the human being's very aliveness and little bit of wisdom. His wisdom, his bodily grace, and even his habit of making beautiful objects are just as 'animal' as his cruelty.

To read an object requires forgetting oneself a little, to leave room for the past of someone else. Traveling through mirrors, that requires facing up to oneself. One has to have guts, y’know, to look oneself straight in the peepers, see oneself as one really is, plunge into one’s own reflection. Those who close their eyes, those who lie to themselves, those who see themselves as better than they are, they could never do it. So, believe me, it’s no run-of-the-mill thing.

Every sacred scripture, holy picture or spoken word, produces the impression of its identity upon the mirror of the soul; but music stands before the soul without producing any impression of this objective world, in either name or form, thus preparing the soul to realize the Infinite.

Wasim Jafar’s mind was like the storerooms of the bigger museums where items are kept that are not on display for some reason. Such rooms are full of the most unexpected, strange and rare objects.

Tyler wrote: Dearest Marguerite: You've taught me a great deal about stillness. About the many things that can drift into your mind and heart when you shut down the barricades created by noise. Unexpected gifts of insight, revelation and wisdom. <…> But you taught me that love is found in stillness. It is the space between objects. It's the star you can't see if you look directly at it in the night sky, but if you look away, look forward, you see it in your peripheral vision, beside you, watching over you. If you lie down on the earth it's there, beneath you, cradling you.<…> You're my angel, my tormentor, my woman, my love. God, Tyler is such a gentleman! He is gentle AND a gentleman.

The past went a-way. When faced with a totally new situation, we tend always to attach ourselves to the objects, to the flavor of the most recent past. We look at the present through a rear-view mirror.

try looking in the mirror and determining where you stand in the attractiveness-hierarchy with anything like the objective ease you can determine whether just about anyone else you know is good-looking or not—but

man's sense is falsely asserted to be the standard of things; on the contrary, all the perceptions both of the senses and the mind bear reference to man and not to the Universe, and the human mind resembles these uneven mirrors which impart their own properties to different objects, from which rays are emitted and distort and disfigure them.

If we cannot 'practice the presence of God', it is something to practice the absence of God, to become increasingly aware of our unawareness till we feel like men who should stand beside a great cataract and hear no noise, or like a man in a story who looks in a mirror and finds no face there, or a man in a dream who stretches out his hand to visible objects and gets no sensation of touch. To know that one is dreaming is to be no longer perfectly asleep.

Bad horror stories concern themselves with six ways to kill a vampire, and graphic accounts of how the rats ate Billy's genitalia. Good horror stories are about larger things. About hope and despair. About love and hatred, lust and jealousy. About friendship and adolescence and sexuality and rage, loneliness and alienation and psychosis, courage and cowardice, the human mind and body and spirit under stress and in agony, the human heart in unending conflict with itself. Good horror stories make us look at our reflections in dark distorting mirrors, where we glimpse things that disturb us, things that we did not really want to look at. Horror looks into the shadows of the human soul, at the fears and rages that live within us all. But darkness is meaningless without light, and horror is pointless without beauty. The best horror stories are stories first and horror second, and however much they scare us, they do more than that as well. They have room in them for laughter as well as screams, for triumph and tenderness as well as tragedy. They concern themselves not simply with fear, but with life in all its infinite variety, with love and death and birth and hope and lust and transcendence, with the whole range of experiences and emotions that make up the human condition. Their characters are people, people who linger in our imagination, people like those around us, people who do not exist solely to be the objects of violent slaughter in chapter four. The best horror stories tell us truths.

All individuals are equal. All works are equal. When you look into the mirror the object you see is of you. The universe is a mirror. Everything you see in the universe is just a reflection of you in different forms and shades. So love everyone and everything. From Bhagavad Gita

Donnelley was lifting his shirt away from the torn flesh in his side. He was cranked around, trying to assess the damage in the muck-spotted mirror. To Vero, he looked like an expressionist painting in which all the objects were the same color of too-vivid red: the shirt, the hands holding the shirt, the belt bassing through pant loops. At the center of it all was the thing that corrupted its surroundings with its own gruesome color - a wound.

I've taped a list to my bathroom mirror. It's my Most Violated List. . . Anger. I gave the finger to an ATM. You see, the ATM charged me a $1.75 fee for withdrawl. A dollar seventy-five? That's bananas. So I flipped off the screen. As Julie tells me, when you start making rude gestures to inanimate objects, it's time to work on your anger issues. Mine is not the shouting, pulsing-vein-in-the forehead rage. Like my dad, I rarely raise my voice. My anger problem is more one of long-lasting resentment. It's a heap of real or perceived slights that eventually build up into a mountain of bitterness. . . get some perspective. . . I ask myself the question God asked Jonah. 'Do you do well to be angry?'. . .The world will not end. . . Mute your petty resentment.

My parents were protection, confidence, warmth. When I think of my childhood I still feel the sense of warmth above me, behind and around me, that marvelous sense of living not yet on one’s own, but leaning body and soul on others who accept the charge. My parents carried me along and that, I am sure, is the reason why through all my childhood I never touched ground. I could go away and come back. Objects had no weight and I never became entangled in the web of things. I passed between dangers and fears as light passes through a mirror. That was the joy of my childhood, the magic armor which, once put on, protects for a lifetime.

I think that here lies the sense of literary creation: to portray ordinary objects as they will be reflected in the kindly mirrors of future times; to find in the objects around us the fragrant tenderness that only posterity will discern and appreciate in the far-off times when every trifle of our plain everyday life will become exquisite and festive in its own right: the times when a man who might put on the most ordinary jacket of today will be dressed up for an elegant masquerade.

We know that whether something is considered beautiful or ugly is in the eye of the beholder. What’s more revealing is that the beholder’s determination of what is beautiful and what is ugly is a valuable insight into the soul and psyche of that person. The beauty and the beast are mirrors. It’s never actually about the object; it’s really about us. Every person, situation, and idea is an interaction between the observer and the observed, and therefore, a potential source of knowledge. Every encounter is an opportunity to learn, not just about the object but about ourselves. Every encounter is therefore an opportunity to evolve. If we pay attention!

Refutation of the Assertion That the (Phenomenal) Appearances Are Mind Although forms appear to the mind, the (objective) appearances are not mind.... When the reflection of your face appears in a mirror, it appears as the face looks, because the clear surface of the mirror is capable of making the reflection appear and the face has the potential of appearing or of projecting the reflection. At that time, the reflection of the face is not the face, nor is there any other face than the face which imprinted it. Likewise, various kinds (of phenomena) are appearing in the deluded mind because of the interdependent origination of the causes and conditions of delusion. The various objective appearances, such as mountains, are not mind. Also there is nothing in the mind which truly exists, but (merely) appearances (created by the) delusory habituation of the mind. So they are the forms of delusory appearances. They are wrong appearances, just as the person who has "hairy vision" will see hair before his eyes....

I don’t know that anything would be any good anywhere, so it’s hard to gauge if this is better or worse, you know what I mean?” “Like: This place is miserable and I want to die, but I can’t think of any place I’d rather be,” I offered. He turned and stared at me, blue eyes mirroring the oval pool. “That’s exactly what I mean.” Get used to it, I thought.

Objects, too, have trickled through the doors between worlds, blown by strange winds, drifting on white-frosted waves, carried and discarded by careless travelers- even stolen, sometimes. Some of them have been lost or ignored or forgotten- books written in foreign tongues, clothes in strange fashions, devices with no use beyond their home worlds- but some of them have left stories in their wakes. Stories of magic lamps and enchanted mirrors, golden fleeces and fountains of youth, dragon-scale armor and moon-streaked broomsticks.

Education is that process by which thought is opened out of the soul, and, associated with outward . . . things, is reflected back upon itself, and thus made conscious of its reality and shape. It is Self-Realization. As a means, therefore, of educating the soul out of itself, and mirroring forth its ideas, the external world offers the materials. This is the dim glass in which the senses are first called to display the soul, until, aided by the keener state of imagination . . . it separates those outward types of itself from their sensual connection, in its own bright mirror recognizes again itself, as a distinctive object in space and time, but out of it in existence, and painting itself upon these, as emblems of its inner and super-sensual life which no outward thing can fully portray. . . . A language is to be instituted between [the child’s] spirit and the surrounding scene of things in which he dwells. . . . He who is seeking to know himself, should be ever seeking himself in external things, and by so doing will he be best able to find, and explore his inmost light.

With a sudden flash of anger, she blurted, "Lash wasn't impotent, all right? He wasn't ... impotent-" The temperature in the room plummeted so fast and so far, her breath came out in clouds. And what she saw in the mirror made her swing around and take a step back from John: His blue eyes glowed with an unholy light and his upper lip curled up to reveal fangs that were sharp and so long they looked like daggers. Objects all around the room began to vibrate: the lamps on the bed stands, the clothes on their hangers, the mirror on the wall. The collective rattling crescendoed to a dull roar and she had to steady herself on the bureau or run the risk of being knocked on her ass. The air was alive. Supercharged. Electric. Dangerous. And John was the center of the raging energy, his hands cranking into fists so tight his forearms trembled, his thighs grabbing onto his bones as he sank down into fighting stance. John's mouth stretched wide as his head shot forward on his spine... and he let out a war cry- Sound exploded all around her, so loud she had to cover her ears, so powerful she felt the blast against her face. For a moment, she thought he'd found his voice- except it wasn't vocal cords making that bellowing noise. The glass in the sliders blew out behind him, the sheets shattering into thousands of shards that blasted free of the house, the fragments bouncing on the slate and catching the light like raindrops... Or like tears.

So what I realized when I was a child was that if I were traveling as fast as light while holding a mirror before me, I would not see my image in the mirror, because as fast as the image of my face in light moved toward the mirror, why, just as fast would the mirror be moving away... It is a rather frightening idea, in fact, that if I moved at the speed of light, I could get no confirmation of my existence from an objective source of reflected light such as a mirror. I would be like a ghost in the universe, materially unverifiable in the stream of time.

The sap rises and, itself a mixture of elements, flowers in a mixture of tones; the trees, the rocks, the granites cast their reflections in the mirror of the water; all the transparent objects seize and imprison colour reflections, both close and distant, as the light passes through them. As the star of day moves, the tones change in value, but always they respect their mutual sympathies and natural hatreds, and continue to live in harmony by reciprocal concessions. The shadows move slowly and drive before them or blot out the tones as the light itself, changing position, sets others vibrating. These mingle their reflections, and, modifying their qualities by casting over them transparent and borrowed glazes, multiply to infinity their melodious marriages and make them easier to achieve. When the great ball of fire sinks into the waters, red fanfares fly in all directions, a blood-red harmony spreads over the horizon, green turns to a deep red. But soon vast blue shadows chase rhythmically before them the crowd of orange and soft tones, which are like the distant and muted echoes of the light. This great symphony of today, which is the eternally renewed variation of the symphony of yesterday, this succession of melodies, where the variety comes always from the infinite, this complex hymn is called colour.

Now, since the self is constantly thinking numerous things, since it is nothing more than the thoughts of these things, when by chance, instead of having them as the objects of its attention, it suddenly turns its thoughts upon itself, it finds only an empty apparatus, something unfamiliar, to which, in order to give it some reality - it adds the memory of a face seen in a mirror.

My father used to say that we had another life in the sky. Our world had a reflection, like a mirror. And each of us had a double living in the world in the sky. The people there slept during the day and woke up at night. They felt cold in the heat and got hot in the cold. They couldn’t see when it was light but could make out the furthest object in the dark. The men in this world were women there, while the women were men. They didn’t take life seriously, but attached great importance to dreams. They liked hugging strangers. They weren’t ashamed of being poor, but of being rich. For them laughing was crying, while crying was laughing. When someone died they sang songs and danced. When I was a child I often stared at the sky to try and catch a glimpse of my other self. I wondered what I was like in that other life.

For the hundredth time, he examined his face in the bathroom mirror, patiently touched every scratch with the styptic pencil, and repowdered them. He ministered to his face and hands objectively, as if they were not a part of himself. When his eyes met the staring eyes in the mirror, they slipped away as they must have slipped away, Guy thought, that first afternoon on the train, when he had tried to avoid Bruno’s eyes.

Henrietta once told me that it was hard for a person to imagine a better life than the one he had; to really know and feel that it was possible. It was the reason, she said, so many people worked so hard just to stay where they were. They never reached out for what they really wanted because they believed what they wanted was out of reach. But it wasn’t. Like words written on a mirror: Objects may be closer than they appear.

The Magpie Poet The magpie poet lined his poems, with a nest of shiny objects: engagement rings returned by ex-lovers, lipstick and keys found beneath his couch's cushions, even shards of his mom's silver hand mirror, too filled with images to discard. His nest of luminous memories held his yellow eye, his offspring. More importantly, it held him. Each poem he wrote was a pro tem refuge he could hide in, a safe house to rest his head after another sleepless night.

But beyond the mind, beyond our thoughts, there is something we call the 'nature of the mind', the mind's true condition, which is beyond all limits. If it is beyond the mind, though, how can we approach an understanding of it? Let's take the example of a mirror. When we look into a mirror we see in it the reflected images of any objects that are in front of it; we don't see the nature of the mirror. But what do we mean by this 'nature of the mirror'? We mean its capacity to reflect, definable as its clarity, its purity, and its limpidity, which are indispensable conditions for the manifestation of reflections. This 'nature of the mirror' is not something visible, and the only way we can conceive of it is through the images reflected in the mirror. In the same way, we only know and have concrete experience of that which is relative to our condition of body, voice, and mind. But this itself is the way to understand their true nature.

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division. ("Introduction")

The mirror of pure awareness is obscured by layers of emotional and mental conditioning. Just as polishing transforms a mineral or stone into a reflective object, regularly wiping clean the mirror of awareness will allow a human being to reflect the light of Being itself. The spiritual process can be understood as learning to consciously reflect more and more of this Being. If we would clear the inner mirror, the light of Being would be reflected outwardly, pouring out of our eyes. (p. 100)

It is the thought that the least efficient way of of finding either happiness or pleasure is to pursue them. Put in terms of happiness, we can see it like this: To be happy you must quite literally "lose yourself". You must lose yourself in some pursuit; you need to forget your own happiness and find other goals and projects, other objects of concern that might include the welfare of some other people, or the cure of the disease, or simply in the variety of everyday activities with their little successes and setbacks.

The scars of my anorexia, perfectly hand-drawn in red, immaculately colouring one-fourth of my left arm. It had hurt like hell, but it still wasn’t as painful as the last two years of my life. The mental, excruciating pain within the depths of my brain had managed to surpass the aching pain of the pointed edge of the object I’d used on my arm. I’d thought that overshadowing the pain I already felt with a much harsher form and intensity would make the emotional pain disappear. I was wrong. The latter pain always remains stronger; that is something I realized.

It was a world in which time was not marked by calendars or watches and objects had a life of their own, in which apparitions sat at the table and conversed with human beings, the past and the future formed part of a single unit, and the reality of the present was a kaleidoscope of jumbled mirrors where everything and anything could happen. [...] Clara lived in a universe of her own invention, protected from life's inclement weather, where the prosaic truth of material objects mingled with the tumultuous reality of dreams and the laws of physics and logic did not always apply.

When an object impacts the Moon at high speed, it sets the Moon slightly wobbling. Eventually the vibrations die down but not in so short a period as eight hundred years. Such a quivering can be studied by laser reflection techniques. The Apollo astronauts emplaced in several locales on the Moon special mirrors called laser retroreflectors. When a laser beam from Earth strikes the mirror and bounces back, the round-trip travel time can be measured with remarkable precision. This time multiplied by the speed of light gives us the distance to the Moon at that moment to equally remarkable precision. Such measurements, performed over a period of years, reveal the Moon to be librating, or quivering with a period (about three years) and amplitude (about three meters), consistent with the idea that the crater Giordano Bruno was gouged out less than a thousand years ago.

History can never be objective or unbiased because, no matter how hard the storytellers may try, the perception of reality prejudices all stories. The academic field of history is dominated by white men handicapped by the inability to see whiteness’s impact on America’s biography. The best historians try to approximate the truth by unbending the collection of funhouse mirrors through which the past has been viewed, but it isn’t simply a counterfeit version of history, it is a fable that erases the reflection of an entire people to ensure that the mythology of the heroes lives happily ever after.

We should therefore, with grace and optimism, embrace NOMA's tough-minded demand: Acknowledge the personal character of these human struggles about morals and meanings, and stop looking for definite answers in nature's construction. But many people cannot bear to surrender nature as a "transitional object"--a baby's warm blanket for adult comfort. But when we do (for we must), nature can finally emerge in her true form: not as a distorted mirror of our needs, but as our most fascinating companion. Only then can we unite the patches built by our separate magisteria into a beautiful and coherent quilt called wisdom.

As I learned how to change my perceptions of my marital partner, I saw that my happiness lay not in what I could get from her, but in my choosing more often to love her without expectations of what I might get back. I learned that when I was able to love her without strings attached, she often became more loving, sometimes with her love wrapped in very different-colored packages than I was asking for, yet these new colors were often richer than what I was requesting. I also learned that when I did not do this consistently, I would instantly create pain for myself and often for her. And of great importance, I came to understand her not so much as a separate objective reality, but often as a mirror of my own attitudes, thoughts, and perceptions.

When parents are shame-based and needy, they are unable to take over the mirroring narcissistic function for the child. Furthermore, the fact that the parents are shame-based is a clear signal that they never got their own narcissistic supplies. Such parents are adult children who are still in search of a parent or an object who will be totally available to them. For such parents, the most appropriate objects of narcissistic gratification are their own children. Again Alice Miller writes: A newborn baby is completely dependent on his parents and since their caring is essential for his existence, he does all he can to avoid losing them. From the very first day onward, he will muster all his resources to this end, like a small plant that turns toward the sun in order to survive. What the shame-based mother was unable to find in her own mother she finds in her own children. The child is always at her disposal. A child cannot run away as her own mother did. A child can be used as an echo, is completely centered on her, will never desert her, can be totally controlled, and offers full admiration and absorbed attention.

I turned the final page. RATHANAEL THE SCORNED, read the lettering. Above it hung a skeleton twined in a ragged shroud, with two pairs of tattered, crowlike wings. Its fleshless skull grinned out at me, the eye sockets bound behind dark wrappings. It held an iron torch clasped in front of its rib cage, the top spiked like a crown, the flames roaring up, enveloping its body and wings in fire. The silver of its form had a dark, tarnished look like an old mirror, but I couldn’t tell if that was intentional or a result of the gilt flaking with age. Some powerful spirits held objects, like riveners did swords. It represented something important about their nature, but I had no idea what a torch might signify and doubted the revenant did either—only how ironic it was that I’d ended up with the revenant associated with fire. I absorbed its deadly visage, trying and failing to match it with the voice in my head. The revenant had devoured the populations of entire cities; it was also the entity who ordered me to eat my pottage. “I’ll have you know that I’m very good-looking by undead standards,” the revenant remarked.

Historical writing, which had begun to keep a continuous record of the present, now also cast a glance back to the past, gathered traditions and legends, interpreted the traces of antiquity that survived in customs and usages, and in this way created a history of the past. It was inevitable that this early history should have been an expression of present beliefs and wishes rather than a true picture of the past; for many things had been dropped from the nation's memory, while others were distorted, and some remains of the past were given a wrong interpretation in order to fit in with contemporary ideas. Moreover people's motive for writing history was not objective curiosity but a desire to influence their contemporaries, to encourage and inspire them, or to hold a mirror up before them. A man's conscious memory of the events of his maturity is in every way comparable to the first kind of historical writing [which was a chronicle of current events]; while the memories that he has of his childhood correspond, as far as their origins and reliability are concerned, to the history of a nation's earliest days, which was compiled later and for tendentious reasons.

They had hoped, hated, loved, suffered, sung, and wept. They had known loss. They had surrounded and comforted themselves with objects. They had driven automobiles. They had walked dogs and pushed children on swing sets and waited in line at the grocery store. They had said stupid things. They had kept secrets, nurtured grudges, blown upon the embers of regret. They had worshipped a variety of gods or no god at all. They had awakened in the night to the sound of rain. They had apologized. They had attended various ceremonies. They had explained the history of themselves to psychologists, priests, lovers, and strangers in bars. They had, at unexpected moments, experienced bolts of joy so unalloyed, so untethered to events, that they seemed to come from above; they had longed to be known and, sometimes, almost were. Heirs

...body and mind are mutually dependent and responsive to such an amazing extent that not an eyelid flickers nor does a muscle move nor an artery throb without the knowledge of the mind, and similarly not a memory stirs, nor does a thought strike, nor an idea occur without causing a reaction in the body. The effect of disease, of organic changes in the tissues, of exhaustion, of diet, of medicine, of intoxicants and narcotics on the mind, and of pleasure and pain, sorrow and suffering, emotion and passion, fear and anxiety on the body is too well known to need mention. The close connection between the two may with justice be likened to that existing between a mirror and the object reflected in it. The least change in the object is instantaneously reflected by the mirror and conversely any change in the reflection denotes a corresponding change in the object also.

In the scene when Belle begs La Bête for permission to visit her father, La Bête, moved by her plea, decides to let her go, but requires her, at the cost of his own life, to return in a week. He explains to her that his magic exists by the force of five power objects—the rose, the key, the mirror, the glove, and the horse. These five are the root of La Bête’s creativity and magic. The point is, if a young artist were to ask Cocteau directly what he would need to pursue the life and work of an artist, these five elements would be the answer. The rose represents beauty. The key represents technique—literally, the means by which the “door” to creativity is opened. The horse represents strength and stamina. The mirror represents the path itself, without which the dream of the artist cannot be accomplished. The meaning of the glove eluded me for a long time, but finally, and unexpectedly, I understood that the glove represents nobility. By this symbol Cocteau asserts that the true nobility of mankind are the artist-magician creators. This scene, which leads directly to the resolution of the fairy tale, is framed as the most significant moment of the film and is the message we are meant to take away with us: Cocteau is teaching about creativity in terms of the power of the artist, which we now understand to be the power of transformation.

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

Each being in the universe, therefore, inhabits a private world. It is as if the universe were populated by countless cinemas, each occupied by a single person, each eternally viewing a different film projected by consciousness, each eternally suspending disbelief. For the Yogacara, ignorance and suffering result from believing the movie to be real, from mistaking the projections to be an external world, from thinking that what appear to be external objects are independent of consciousness, and then running after them, desiring some and hating others. For the Yogacara, wisdom is the insight that everything is of the nature of consciousness and the product of one's own projections. With this insight, desire and hatred, attachment and aversion, naturally cease, for their objects are seen to be illusions. With the achievement of enlightenment, the substratum consciousness is transformed into the mirror like wisdom of a buddha.

What Althusser does… is to rethink the concept of ideology in terms of Lacan’s ‘imaginary’. For the relation of an individual subject to society as a whole in Althusser’s theory is rather like the relation of the small child to his or her mirror-image in Lacan’s. In both cases, the human subject is supplied with a satisfyingly unified image of selfhood by identifying with an object which reflects this image back to it in a closed, narcissistic circle. In both cases, too, this image involves a misrecognition, since it idealizes the subject’s real situation. The child is not actually as integrated as its image in the mirror suggests; I am not actually the coherent, autonomous, self generating subject I know myself to be in the ideological sphere, but the ‘decentred’ function of several social determinants. Duly enthralled by the image of myself I receive, I subject myself to it; and it is through this ‘subjection’ that I become a subject.

This is always true of those men who have surrendered themselves to an overruling purpose. It does not so much impel them from without, nor even operate as a motive power within, but grows incorporate with all that they think and feel, and finally converts them into little else save that one principle. When such begins to be the predicament, it is not cowardice, but wisdom, to avoid these victims. They have no heart, no sympathy, no reason, no conscience. They will keep no friend, unless he make himself the mirror of their purpose; they will smite and slay you, and trample your dead corpse under foot, all the more readily, if you take the first step with them, and cannot take the second, and the third, and every other step of their terribly strait path. They have an idol to which they consecrate themselves high-priest, and deem it holy work to offer sacrifices of whatever is most precious; and never once seem to suspect—so cunning has the Devil been with them—that this false deity, in whose iron features, immitigable to all the rest of mankind, they see only benignity and love, is but a spectrum of the very priest himself, projected upon the surrounding darkness. And the higher and purer the original object, and the more unselfishly it may have been taken up, the slighter is the probability that they can be led to recognize the process by which godlike benevolence has been debased into all-devouring egotism.

Idle, she writes, to imagine falling in love as a correspondence of minds, of thoughts,; it is a simultaneous firing of two spirits engaged in the autonomous act of growing up. And the sensation is of something having noiselessly exploded inside each of them. Around this event, dazed and preoccupied, the lover moves examining her or her own experience; her gratitude alone, stretching away towards a mistaken donor, creates the illusion that she communicates with her fellow, but this is false. The loved object is simply one that has shared an experience at the same moment of time, narcissistically; and the desire to be near the beloved object is at first not due to the idea of possessing it, but simply to let the two experiences compare themselves, like reflections in different mirrors. All this may precede the first look, kiss, or touch; precede ambition, pride or envy; precede the first declarations which mark the turning point--for from here love degenerates into habit, possession, and back to loneliness.

At this point tears begin to fall from my eyes, not because I am sad or angry, but because I have never had these dueling aspects of my personality mirrored back to me in such a matter-of-fact way. I have, at so many times in my life, felt unknowable, but here I am having me explained to me as it feels to be me. One three-hour test and I finally have objective words to demystify a tumultuous and ambivalent life experience. “We will leave it here, but I have one last thing I would like to say. The Rorschach and image testing reveal evidence of trauma associated with very early childhood development. I see a preoccupation with blood, morbidity, dismissal, and power struggles. There is a way in which you present as very sturdy to the world, yet inside you are carrying an incredibly heavy weight. There is a you inside who feels invisible to those looking at you from the outside. I feel an incredible amount of compassion for how hard each day feels for you.” “Thank you,” I say, my voice quiet and quivering with emotion. “I really appreciate this.” “Yes,” he says, “I believe you really do.

Within the bounds of positivity we say and find it obvious that, in my own experience, I experience not only myself but others—in the particular form: experiencing someone else. The indubitable transcendental explication showed us not only that this positive statement is transcendentally legitimate but also that the concretely apprehended transcendental ego (who first becomes aware of himself, with his undetermined horizon, when he effects transcendental reduction) grasps himself in his own primordial being, and likewise (in the form of his transcendental experience of what is alien) grasps others: other transcendental egos, though they are given, not originaliter and in unqualifiedly apodictic evidence, but only in an evidence belonging to ‘external’ experience. ‘In’ myself I experience and know the Other; in me he becomes constituted—appresentatively mirrored, not constituted as the original. Hence it can very well be said, in a broadened sense, that the ego acquires—that I, as the one who meditatingly explicates, acquire by ‘self-explication’ (explication of what I find in myself) every transcendency: as a transcendentally constituted transcendency and not as a transcendency accepted with naive positivity. Thus the illusion vanishes: that everything I, qua transcendental ego, know as existing in consequence of myself, and explicate as constituted in myself, must belong to me as part of my own essence. This is true only of ‘immanent transcendencies’. As a title for the systems of synthetic actuality and potentiality that confer sense and being on me as ego in my own essentialness, constitution signifies constitution of immanent objective actuality.

If the body is no longer a site of otherness but of identification, then we have urgently to become reconciled with it, repair it, perfect it, turn it into an ideal object. Everyone treats their bodies the way men treat women in projective identification: they invest them as a fetish, making an autistic cult of them, subjecting them to a quasi-incestuous manipulation. And it is the body's resemblance to its model which becomes a source of eroticism and 'white' seduction -- in the sense that it effects a kind of white magic of identity, as opposed to the black magic of otherness. This is how it is with body-building: you get into your body as you would into a suit of nerve and muscle. The body is not muscular, but muscled. It is the same with the brain and with social relations or exchanges: body-building, brainstorming, word-processing. Madonna is the ideal specimen of this, our muscled Immaculate Conception, our muscular angel who delivers us from the weaknesses of the body (pity the poor shade of Marilyn!). The sheath of muscles is the equivalent of character armour. In the past, women merely wrapped themselves in their image and their finery -- Freud speaks of those people who live with a kind of inner mirror, in a fleshly, happy self-reference. That narcissistic ideal is past and gone; body-building has wiped it out and replaced it with a gymnastic Ego-Ideal -- cold, hard, stressed, artificial self-reference. The construction of a double, of a physical and mental identity shell. Thus, in `body simulation', where you can animate your body remotely at any moment, the phantasy of being present in more than one body becomes an operational reality. An extension of the human being. And not a metaphorical or poetic extension, as in Pessoa's heteronyms, but quite simply a technical one.

Okay.First things first. Three things you don't want me to know about you." "What?" I gaped at him. "You're the one who says we don't know each other.So let's cut to the chase." Oh,but this was too easy: 1. I am wearing my oldest, ugliest underwear. 2.I think your girlfriend is evil and should be destroyed. 3.I am a lying, larcenous creature who talks to dead people and thinks she should be your girlfriend once the aforementioned one is out of the picture. I figured that was just about everything. "I don't think so-" "Doesn't have to be embarrassing or major," Alex interrupted me, "but it has to be something that costs a little to share." When I opened my mouth to object again, he pointed a long finger at the center of my chest. "You opened the box,Pandora.So sit." There was a funny-shaped velour chair near my knees. I sat. The chair promptly molded itself to my butt. I assumed that meant it was expensive, and not dangerous. Alex flopped onto the bed,settling on his side with his elbow bent and his head propped on his hand. "Can't you go first?" I asked. "You opened the box..." "Okay,okay. I'm thinking." He gave me about thirty seconds. Then, "Time." I took a breath. "I'm on full scholarship to Willing." One thing Truth or Dare has taught me is that you can't be too proud and still expect to get anything valuable out of the process. "Next." "I'm terrified of a lot things, including lightning, driving a stick shift, and swimming in the ocean." His expression didn't change at all. He just took in my answers. "Last one." "I am not telling you about my underwear," I muttered. He laughed. "I am sorry to hear that. Not even the color?" I wanted to scowl. I couldn't. "No.But I will tell you that I like anchovies on my pizza." "That's supposed to be consolation for withholding lingeries info?" "Not my concern.But you tell me-is it something you would broadcast around the lunchroom?" "Probably not," he agreed. "Didn't think so." I settled back more deeply into my chair. It didn't escape my notice that, yet again, I was feeling very relaxed around this boy. Yet again, it didn't make me especially happy. "Your turn." I thought about my promise to Frankie. I quietly hoped Alex would tell me something to make me like him even a little less. He was ready. "I cried so much during my first time at camp that my parents had to come get me four days early." I never went to camp. It always seemed a little bit idyllic to me. "How old were you?" "Six.Why?" "Why?" I imagined a very small Alex in a Spider-Man shirt, cuddling the threadbare bunny now sitting on the shelf over his computer. I sighed. "Oh,no reason. Next." "I hated Titanic, The Notebook, and Twilight." "What did you think of Ten Things I Hate About You?" "Hey," he snapped. "I didn't ask questions during your turn." "No,you didn't," I agreed pleasantly. "Anser,please." "Fine.I liked Ten Things. Satisfied?" No,actually. "Alex," I said sadly, "either you are mind-bogglingly clueless about what I wouldn't want to know, or your next revelation is going to be that you have an unpleasant reaction to kryptonite." He was looking at me like I'd spoken Swahili. "What are you talking about?" Just call me Lois. I shook my head. "Never mind. Carry on." "I have been known to dance in front of the mirror-" he cringed a little- "to 'Thriller.'" And there it was. Alex now knew that I was a penniless coward with a penchant for stinky fish.I knew he was officially adorable. He pushed himself up off his elbow and swung his legs around until he was sitting on the edge of the bed. "And on that humiliating note, I will now make you translate bathroom words into French." He picked up a sheaf of papers from the floor. "I have these worksheets. They're great for the irregular verbs...

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

Near the exit to the blue patio, DeCoverley Pox and Joaquin Stick stand by a concrete scale model of the Jungfrau, ... socking the slopes of the famous mountain with red rubber hot-water bags full of ice cubes, the idea being to pulverize the ice for Pirate's banana frappes. With their nights' growths of beard, matted hair, bloodshot eyes, miasmata of foul breath, DeCoverley and Joaquin are wasted gods urging on a tardy glacier. Elsewhere in the maisonette, other drinking companions disentangle from blankets (one spilling wind from his, dreaming of a parachute), piss into bathroom sinks, look at themselves with dismay in concave shaving mirrors, slab water with no clear plan in mind onto heads of thinning hair, struggle into Sam Brownes, dub shoes against rain later in the day with hand muscles already weary of it, sing snatches of popular songs whose tunes they don't always know, lie, believing themselves warmed, in what patches of the new sunlight come between the mullions, begin tentatively to talk shop as a way of easing into whatever it is they'll have to be doing in less than an hour, lather necks and faces, yawn, pick their noses, search cabinets or bookcases for the hair of the dog that not without provocation and much prior conditioning bit them last night. Now there grows among all the rooms, replacing the night's old smoke, alcohol and sweat, the fragile, musaceous odor of Breakfast:flowery, permeating, surprising, more than the color of winter sunlight, taking over not so much through any brute pungency or volume as by the high intricacy to the weaving of its molecules, sharing the conjuror's secret by which-- though it is not often Death is told so clearly to fuck off--- the genetic chains prove labyrinthine enough to preserve some human face down ten or twenty generations. . . so the same assertion-through-structure allows this war morning's banana fragrance to meander, repossess, prevail. Is there any reason not to open every window, and let the kind scent blanket all Chelsea? As a spell, against falling objects. . . .

I am thirty. I made two girls within my own body, felt the rush of bringing them into the world, and when I saw their bodies, I saw a miracle. Their skin and eye lashes perfect. Tiny lips, tiny fingernails, eyes embodying innocence and awe. They grow and run around my house naked and scream wildly without self-awareness or social concern. I teach them about our culture and what is and isn’t acceptable. But what I will not teach them is shame of their body. It was beautiful from moment one, and that will not change - not with age, not with anything. One daughter looks at her body in the mirror, we talk about the organs and skin, how her body will change. She is beautiful on every count. I remember when I was six, and I know I have to warn her. Not shame her, but tell her how some people were not taught to love, but take for themselves and she must be brave and aware. It pains me as I tell her, her innocent mind not know why one person would hurt another in such a way. “Do not be afraid,” I tell her. “But this is our culture, so be smart and be aware my brave girl.” Shame teaches us, but I will not teach my daughters in this way. I will empower them to be proud of their bodies, respectful of their bodies, in awe of how miraculous it is and what it is capable of. I will tell my daughter that to be a woman is not to be lesser, not object, not the bed in the red light district, nor the “bitch” in the hotel. She is not the body to exploit or product to consume. “She” is not shame. “She” is beautiful woman with beautiful body, capable of cosmic realities. Holding someone close, experiencing love, making love, creating life, accepting another human life as her own, feeling pain, joy, giving strength, healing with a kiss, wholeness with a touch; giving physical and mental nourishment with her own body. “She” is grounded enough to follow, still capable to lead from a child to a nation. The woman’s body is made in the image of Love, from Love herself, Life herself, so she herself is of God. For my Grandmother, for my Mother, for my daughters, my friends, and as a reminder to myself: be proud, beautiful woman, your body is intrinsically good, perfectly good. Perfect from moment one.

[L]et us imagine a mirror image of what is happening today. What if millions of white Americans were pouring across the border into Mexico, taking over parts of cities, speaking English rather than Spanish, celebrating the Fourth of July rather than Cinco de Mayo, sleeping 20 to a house, demanding bilingual instruction and welfare for immigrants, opposing border control, and demanding ballots in English? What if, besides this, they had high rates of crime, poverty, and illegitimacy? Can we imagine the Mexicans rejoicing in their newfound diversity? And yet, that is what Americans are asked to do. For whites to celebrate diversity is to celebrate their own declining numbers and influence, and the transformation of their society. For every other group, to celebrate diversity is to celebrate increasing numbers and influence. Which is a real celebration and which is self-deception? Whites—but only whites—must never take pride in their own people. Only whites must pretend they do not prefer to associate with people like themselves. Only whites must pretend to be happy to give up their neighborhoods, their institutions, and their country to people unlike themselves. Only whites must always act as individuals and never as members of a group that promotes shared interests. Racial identity comes naturally to all non-white groups. It comes naturally because it is good, normal, and healthy to feel kinship for people like oneself. Despite the fashionable view that race is a socially created illusion, race is a biological reality. All people of the same race are more closely related genetically than they are to anyone of a different race, and this helps explain racial solidarity. Families are close for the same reason. Parents love their children, not because they are the smartest, best-looking, most talented children on earth. They love them because they are genetically close to them. They love them because they are a family. Most people have similar feelings about race. Their race is the largest extended family to which they feel an instinctive kinship. Like members of a family, members of a race do not need objective reasons to prefer their own group; they prefer it because it is theirs (though they may well imagine themselves as having many fine, partly imaginary qualities). These mystic preferences need not imply hostility towards others. Parents may have great affection for the children of others, but their own children come first. Likewise, affection often crosses racial lines, but the deeper loyalties of most people are to their own group—their extended family.

[...]Telecomputer Man is assigned to an apparatus, just as the apparatus is assigned to him, by virtue of an involution of each into the other, a refraction of each by the other. The machine does what the human wants it to do, but by the same token the human puts into execution only what the machine has been programmed to do. The operator is working with virtuality: only apparently is the aim to obtain information or to communicate; the real purpose is to explore all the possibilities of a program, rather as a gambler seeks to exhaust the permutations in a game of chance. Consider the way the camera is used now. Its possibilities are no longer those of a subject who ' 'reflects' the world according to his personal vision; rather, they are the possibilities of the lens, as exploited by the object. The camera is thus a machine that vitiates all will, erases all intentionality and leaves nothing but the pure reflex needed to take pictures. Looking itself disappears without trace, replaced by a lens now in collusion with the object - and hence with an inversion of vision. The magic lies precisely in the subject's retroversion to a camera obscura - the reduction of his vision to the impersonal vision of a mechanical device. In a mirror, it is the subject who gives free rein to the realm of the imaginary. In the camera lens, and on-screen in general, it is the object, potentially, that unburdens itself - to the benefit of all media and telecommunications techniques. This is why images of anything are now a possibility. This is why everything is translatable into computer terms, commutable into digital form, just as each individual is commutable into his own particular genetic code. (The whole object, in fact, is to exhaust all the virtualities of such analogues of the genetic code: this is one of artificial intelligence's most fundamental aspects.) What this means on a more concrete level is that there is no longer any such thing as an act or event which is not refracted into a technical image or onto a screen, any such thing as an action which does not in some sense want to be photographed, filmed or tape-recorded, does not desire to be stored in memory so as to become reproducible for all eternity. No such thing as an action which does not aspire to self-transcendence into a virtual eternity - not, now, the durable eternity that follows death, but rather the ephemeral eternity of ever-ramifying artificial memory. The compulsion of the virtual is the compulsion to exist in potentia on all screens, to be embedded in all programs, and it acquires a magical force: the Siren call of the black box.

For almost all astronomical objects, gravitation dominates, and they have the same unexpected behavior. Gravitation reverses the usual relation between energy and temperature. In the domain of astronomy, when heat flows from hotter to cooler objects, the hot objects get hotter and the cool objects get cooler. As a result, temperature differences in the astronomical universe tend to increase rather than decrease as time goes on. There is no final state of uniform temperature, and there is no heat death. Gravitation gives us a universe hospitable to life. Information and order can continue to grow for billions of years in the future, as they have evidently grown in the past. The vision of the future as an infinite playground, with an unending sequence of mysteries to be understood by an unending sequence of players exploring an unending supply of information, is a glorious vision for scientists. Scientists find the vision attractive, since it gives them a purpose for their existence and an unending supply of jobs. The vision is less attractive to artists and writers and ordinary people. Ordinary people are more interested in friends and family than in science. Ordinary people may not welcome a future spent swimming in an unending flood of information. A darker view of the information-dominated universe was described in the famous story “The Library of Babel,” written by Jorge Luis Borges in 1941.§ Borges imagined his library, with an infinite array of books and shelves and mirrors, as a metaphor for the universe. Gleick’s book has an epilogue entitled “The Return of Meaning,” expressing the concerns of people who feel alienated from the prevailing scientific culture. The enormous success of information theory came from Shannon’s decision to separate information from meaning. His central dogma, “Meaning is irrelevant,” declared that information could be handled with greater freedom if it was treated as a mathematical abstraction independent of meaning. The consequence of this freedom is the flood of information in which we are drowning. The immense size of modern databases gives us a feeling of meaninglessness. Information in such quantities reminds us of Borges’s library extending infinitely in all directions. It is our task as humans to bring meaning back into this wasteland. As finite creatures who think and feel, we can create islands of meaning in the sea of information. Gleick ends his book with Borges’s image of the human condition: We walk the corridors, searching the shelves and rearranging them, looking for lines of meaning amid leagues of cacophony and incoherence, reading the history of the past and of the future, collecting our thoughts and collecting the thoughts of others, and every so often glimpsing mirrors, in which we may recognize creatures of the information.