Orphan Sad Quotes

This is real, then?" Jaron's heart pounded, though he couldn't tell whether it was from sadness or fear for his future. "When you leave, I'm no longer Prince Jaron. I'll be nothing but a commoner. An orphan.

It was Cathy who taught me the true meaning of the word “risk.” Whenever I see that word written or hear it spoken, I see her face. I see her faith. I see her love and her youth when she took on this challenge. She perceived a need and didn’t wait for everything to fall into place before doing something about it. She did not wait until someone wrote the manual on How to be a Mother to a 19-Year-Old African Orphan When You’re Only 23.

At the snowy summit of all these things, however, is the fact that you simply cannot go about locking your siblings in towers when they misbehave. It is unseemly and betrays a sad lack of creativity.

In the time since the Baudelaire parents' death, most of the Baudelaire orphans' friends had fallen by the wayside, an expression wich here means "they stopped calling, writing, and stopping by to see any of the Baudelaires, making them lonely". You and I, of course, would never do this to any of our grieving acquaintances, but it is a sad truth that when someone has lost a loved one, friends sometimes avoid the person, just when the presence of friends is most needed.

It dawned on them that unlike Aunt Josephine, who had lived up in that house, sad and alone, the three children had one another for comfort and support over the course of their miserable lives. And while this did not make them feel entirely safe, or entirely happy, it made them feel appreciative. They leaned up against one another appreciatively, and small smiles appeared on their damp and anxious faces. They had each other. I'm not sure that "The Beaudelaires had each other" is the moral of this story, but to the three siblings it was enough. To have each other in the midst of their unfortunate lives felt like having a sailboat in the middle of a hurricane, and to the Beaudelaire orphans this felt very fortunate indeed.

I am certain that over the course of your own life, you have noticed that people's rooms reflect their personalities. In my room, for instance, I have gathered a collection of objects that are important to me, including a dusty accordion on which I can play a few sad songs, a large bundle of notes on the activities of the Baudelaire orphans, and a blurry photograph, taken a very long time ago, of a woman whose name is Beatrice. These are items that are very precious and dear to me.

Edward reached out with his arms and embraced her, his heart filled with a mix of sadness and hope. He desperately wanted to believe her promise and hold on to her vow that they would be reunited soon. Still, young Edward’s life had been so full of disappointment that it was hard for him to believe his unfortunate circumstances might soon be ending. He clung to her, wishing she would never let him go.

When a husband loses his wife, they call him a widower. When a wife loses her husband, they call her a widow. And when somebody’s parents die, they call them an orphan. But there is no name for a parent, a grieving mother, or a devastated father who have lost their child. Because the pain behind the loss is so immeasurable and unbearable, that it cannot be described in a single word. It just cannot be described.

The colonel nodded. "Our childhood seems so far away now. All this" - he gestured out of the vehicle - "so much suffering. One of our Japanese poets, a court lady many years ago, wrote how sad this was. She wrote of how our childhood becomes like a foreign land once we have grown." "Well, Colonel, it's hardly a foreign land to me. In many ways, it's where I've continued to live all my life. It's only now I've started to make my journey from it.

But Hans Castorp said as they walked on: “You see, I didn’t mind it at all, I got on with her quite well; I always do with such people; I understand instinctively how to go at them—don’t you think so? I even think, on the whole, I get on better with sad people than with jolly ones—goodness knows why. Perhaps it’s because I’m an orphan, and lost my parents early;

The sad thing was Seventeen would remain completely unaware she was being exploited, such were the ramifications of the insidious mind control programs.

This horrible half-grief has made me feel complicit in darkness. I worry that my sadness will be interpreted as an endorsement of his choices—of his very existence—and in this matter I don’t want to be misunderstood, so I cannot admit that I grieve him, that I care at all for the loss of this monstrous man who raised me. And in the absence of healthy action I remain frozen, a sentient stone in the wake of my father’s death. I hated him. I hated him with a violent intensity I’ve never since experienced. But the fire of true hatred, I realize, cannot exist without the oxygen of affection. I would not hurt so much, or hate so much, if I did not care. And it is this, my unrequited affection for my father, that has always been my greatest weakness. So I lie here, marinating in a sorrow I can never speak of, while regret consumes my heart. I am an orphan.

It is much, much worse to receive bad news through the written word than by somebody simply telling you, and I’m sure you understand why. When somebody simply tells you bad news, you hear it once, and that’s the end of it. But when bad news is written down, whether in a letter or a newspaper or on your arm in felt tip pen, each time you read it, you feel as if you are receiving the news again and again. For instance, I once loved a woman, who for various reasons could not marry me. If she had simply told me in person, I would have been very sad, of course, but eventually it might have passed. However, she chose instead to write a two-hundred-page book, explaining every single detail of the bad news at great length, and instead my sadness has been of impossible depth. When the book was first brought to me, by a flock of carrier pigeons, I stayed up all night reading it, and I read it still, over and over, and it is as if my darling Beatrice is bringing me bad news every day and every night of my life. The Baudelaire orphans

Orphans The word seems sad when you say it. An orphan is like a soul bulb waiting to be planted in just the right place. When you’re an orphan, you no longer belong, but a child is a child of everyone, they belong to a community, to a greater garden, she says.

If you have walked into a museum recently - whether you did so to attend an art exhibition or to escape from the police - you may have noticed a type of painting known as a triptych. A triptych has three panels, with something different painted on each of the panels. For instance, my friend Professor Reed made a triptych for me, and he painted fire on one panel, a typewriter on another, and the face of a beautiful, intelligent woman on the third. The triptych is entitled What Happened to Beatrice and I cannot look upon it without weeping. I am a writer, and not a painter, but if I were to try and paint a triptych entitled The Baudelaire Orphans' Miserable Experiences at Prufrock Prep, I would paint Mr. Remora on one panel, Mrs. Brass on another, and a box of staples on the third, and the results would make me so sad that between the Beatrice triptych and the Baudelaire triptych I would scarcely stop weeping all da

I was an infant when my parents died. Thye both were ornithologists. I've tried So often to evoke them that today I have a thousand parents. Sadly they Dissolve in their own virtues and recede, But certain words, chance words I hear or read, Such as "bad heart" always to him refer, And "cancer of the pancreas" to her.

Are Christians victims of this post-Christian world? No. Sadly, Christians are coconspirators. We embrace modernism’s perks when they serve our own lusts and selfish ambitions. We despise modernism when it crosses lines of our precious moralism. Our cold and hard hearts; our failure to love the stranger; our selfishness with our money, our time, and our home; and our privileged back turned against widows, orphans, prisoners, and refugees mean we are guilty in the face of God of withholding love and Christian witness. And even more serious is our failure to read our Bibles well enough to see that the creation ordinance and the moral law, found first in the Old Testament, is as binding to the Christian as any red letter. Our own conduct condemns our witness to this world.

If you have read this far in the chronicle of the Baudelaire orphans - and I certainly hope you have not - then you know we have reached the thirteenth chapter of the thirteenth volume in this sad history, and so you know the end is near, even though this chapter is so lengthy that you might never reach the end of it. But perhaps you do not yet know what the end really means. "The end" is a phrase which refers to the completion of a story, or the final moment of some accomplishment, such as a secret errand, or a great deal of research, and indeed this thirteenth volume marks the completion of my investigation into the Baudelaire case, which required much research, a great many secret errands, and the accomplishments of a number of my comrades, from a trolley driver to a botanical hybridization expert, with many, many typewriter repairpeople in between. But it cannot be said that The End contains the end of the Baudelaires' story, any more than The Bad Beginning contained its beginning. The children's story began long before that terrible day on Briny Beach, but there would have to be another volume to chronicle when the Baudelaires were born, and when their parents married, and who was playing the violin in the candlelit restaurant when the Baudelaire parents first laid eyes on one another, and what was hidden inside that violin, and the childhood of the man who orphaned the girl who put it there, and even then it could not be said that the Baudelaires' story had not begun, because you would still need to know about a certain tea party held in a penthouse suite, and the baker who made the scones served at the tea party, and the baker's assistant who smuggled the secret ingredient into the scone batter through a very narrow drainpipe, and how a crafty volunteer created the illusion of a fire in the kitchen simply by wearing a certain dress and jumping around, and even then the beginning of the story would be as far away as the shipwreck that leftthe Baudelaire parents as castaways on the coastal shelf is far away from the outrigger on which the islanders would depart. One could say, in fact, that no story really has a beginning, and that no story really has an end, as all of the world's stories are as jumbled as the items in the arboretum, with their details and secrets all heaped together so that the whole story, from beginning to end, depends on how you look at it. We might even say that the world is always in medias res - a Latin phrase which means "in the midst of things" or "in the middle of a narrative" - and that it is impossible to solve any mystery, or find the root of any trouble, and so The End is really the middle of the story, as many people in this history will live long past the close of Chapter Thirteen, or even the beginning of the story, as a new child arrives in the world at the chapter's close. But one cannot sit in the midst of things forever. Eventually one must face that the end is near, and the end of The End is quite near indeed, so if I were you I would not read the end of The End, as it contains the end of a notorious villain but also the end of a brave and noble sibling, and the end of the colonists' stay on the island, as they sail off the end of the coastal shelf. The end of The End contains all these ends, and that does not depend on how you look at it, so it might be best for you to stop looking at The End before the end of The End arrives, and to stop reading The End before you read the end, as the stories that end in The End that began in The Bad Beginning are beginning to end now.

A little while ago, I stood by the grave of the old Napoleon—a magnificent tomb of gilt and gold, fit almost for a dead deity—and gazed upon the sarcophagus of rare and nameless marble, where rest at last the ashes of that restless man. I leaned over the balustrade and thought about the career of the greatest soldier of the modern world. I saw him walking upon the banks of the Seine, contemplating suicide. I saw him at Toulon—I saw him putting down the mob in the streets of Paris—I saw him at the head of the army of Italy—I saw him crossing the bridge of Lodi with the tri-color in his hand—I saw him in Egypt in the shadows of the pyramids—I saw him conquer the Alps and mingle the eagles of France with the eagles of the crags. I saw him at Marengo—at Ulm and Austerlitz. I saw him in Russia, where the infantry of the snow and the cavalry of the wild blast scattered his legions like winter's withered leaves. I saw him at Leipsic in defeat and disaster—driven by a million bayonets back upon Paris—clutched like a wild beast—banished to Elba. I saw him escape and retake an empire by the force of his genius. I saw him upon the frightful field of Waterloo, where Chance and Fate combined to wreck the fortunes of their former king. And I saw him at St. Helena, with his hands crossed behind him, gazing out upon the sad and solemn sea. I thought of the orphans and widows he had made—of the tears that had been shed for his glory, and of the only woman who ever loved him, pushed from his heart by the cold hand of ambition. And I said I would rather have been a French peasant and worn wooden shoes. I would rather have lived in a hut with a vine growing over the door, and the grapes growing purple in the kisses of the autumn sun. I would rather have been that poor peasant with my loving wife by my side, knitting as the day died out of the sky—with my children upon my knees and their arms about me—I would rather have been that man and gone down to the tongueless silence of the dreamless dust, than to have been that imperial impersonation of force and murder, known as 'Napoleon the Great.

I will love you with no regard to the actions of our enemies or the jealousies of actors. I will love you with no regard to the outrage of certain parents or the boredom of certain friends. I will love you no matter what is served in the world’s cafeterias or what game is played at each and every recess. I will love you no matter how many fire drills we are all forced to endure, and no matter what is drawn upon the blackboard in a blurring, boring chalk. I will love you no matter how many mistakes I make when trying to reduce fractions, and no matter how difficult it is to memorize the periodic table. I will love you no matter what your locker combination was, or how you decided to spend your time during study hall. I will love you no matter how your soccer team performed in the tournament or how many stains I received on my cheerleading uniform. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you if you cut your hair and I will love you if you cut the hair of others. I will love you if you abandon your baticeering, and I will love you if you retire from the theater to take up some other, less dangerous occupation. I will love you if you drop your raincoat on the floor instead of hanging it up and I will love you if you betray your father. I will love you even if you announce that the poetry of Edgar Guest is the best in the world and even if you announce that the work of Zilpha Keatley Snyder is unbearably tedious. I will love you if you abandon the theremin and take up the harmonica and I will love you if you donate your marmosets to the zoo and your tree frogs to M. I will love you as the starfish loves a coral reef and as kudzu loves trees, even if the oceans turn to sawdust and the trees fall in the forest without anyone around to hear them. I will love you as the pesto loves the fetuccini and as the horseradish loves the miyagi, as the tempura loves the ikura and the pepperoni loves the pizza. I will love you as the manatee loves the head of lettuce and as the dark spot loves the leopard, as the leech loves the ankle of a wader and as a corpse loves the beak of the vulture. I will love you as the doctor loves his sickest patient and a lake loves its thirstiest swimmer. I will love you as the beard loves the chin, and the crumbs love the beard, and the damp napkin loves the crumbs, and the precious document loves the dampness in the napkin, and the squinting eye of the reader loves the smudged print of the document, and the tears of sadness love the squinting eye as it misreads what is written. I will love you as the iceberg loves the ship, and the passengers love the lifeboat, and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms. I will love you as a child loves to overhear the conversations of its parents, and the parents love the sound of their own arguing voices, and as the pen loves to write down the words these voices utter in a notebook for safekeeping. I will love you as a shingle loves falling off a house on a windy day and striking a grumpy person across the chin, and as an oven loves malfunctioning in the middle of roasting a turkey. I will love you as an airplane loves to fall from a clear blue sky and as an escalator loves to entangle expensive scarves in its mechanisms. I will love you as a wet paper towel loves to be crumpled into a ball and thrown at a bathroom ceiling and an eraser loves to leave dust in the hairdos of the people who talk too much. I will love you as a taxi loves the muddy splash of a puddle and as a library loves the patient tick of a clock. I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong.

She was every Cora she'd ever been: Cora X, Cora Kaufmann, Cora Carlisle. She was an orphan on a roof, a lucky girl on a train, a dearly loved daughter by chance. She was a blushing bride of seventeen, a sad and stoic wife, a loving mother, an embittered chaperone, and a daughter pushed away. She was a lover and a lewd cohabitator, a liar and a cherished friend, and aunt and a kindly grandmother, a champion of the fallen, and a late-in-coming fighter for reason over fear. Even in those final hours, quiet and rocking, arriving and departing, she knew who she was.

So, he explained, yellow was love, green was a peaceful, calm feeling, and brown was sad, like when his little dog died. He said gray was anxious, so before an exam at school everything seemed blanketed in a dreary fog. Black and white meant nothing special to him, but blue—he said blue was full of hope,

But even if they could go home it would be difficult for me to tell you what the moral of the story is. In some stories, it’s easy. The moral of “The Three Bears,” for instance, is “Never break into someone else’s house.” The moral of “Snow White” is “Never eat apples.” The moral of World War One is “Never assassinate Archduke Ferdinand.” […] and as the Baudelaire orphans sat and watched the dock fill with people as the business of the day began, they figured out something that was very important to them. It dawned on them that unlike Aunt Josephine, who had lived up in that house, sad and alone, the three children had one another for comfort and support over the course of their miserable lives. And while this did not make them feel entirely safe, or entirely happy, it made them feel appreciative.

Death came into my family and reminded us of its close proximity to humankind

How could you build a reputation in an environment where the only people who got names were the interns and the sad old retirees who clamber in to relive the glory days? While

Please know that news of your country’s complete collapse was met with sadness in our nation.

We didn’t know sadness until we had a point of comparison.

But we were not orphans, we were children of the world, and we could see what was beautiful in the world, so why would we remain slaves?

Naysayers at their polite best chided the rewilders for romanticizing the past; at their sniping worst, for tempting a 'Jurassic Park' disaster. To these the rewilders quietly voiced a sad and stinging reply. The most dangerous experiment is already underway. The future most to be feared is the one now dictated by the status quo. In vanquishing our most fearsome beasts from the modern world, we have released worse monsters from the compound. They come in disarmingly meek and insidious forms, in chewing plagues of hoofed beasts and sweeping hordes of rats and cats and second-order predators. They come in the form of denuded seascapes and barren forests, ruled by jellyfish and urchins, killer deer and sociopathic monkeys. They come as haunting demons of the human mind. In conquering the fearsome beasts, the conquerors had unwittingly orphaned themselves.

She has learned that she can control her emotions by thinking of her chest cavity as an enormous box with a chain lock. She opens the box and stuffs in any stray unmanageable feelings, any wayward sadness or regret, and clamps it shut.

It contained a sad, but too common story of the hard-heartedness of the wealthy, and the misery endured by the children of the highborn. Blood is not water, it is said, but gold with them is dearer far than the ties of nature; to keep and augment their possessions being the aim and end of their lives, the existence, and, more especially, the happiness of their children, appears to them a consideration at once trivial and impertinent, when it would compete with family views and family greatness. To this common and and iniquitous feeling these luckless beings were sacrificed; they had endured the worst, and could be injured no more; but their orphan child was a living victim, less thought of than the progeny of the meanest animal which might serve to augment their possessions. Mrs. Baker felt some complacency on reading this letter; with the common English respect for wealth and rank, she was glad to find that her humble roof had sheltered a man who was the son — she did not exactly know of whom, but of somebody, who had younger sons and elder sons, and possessed, through wealth, the power of behaving frightfully ill to a vast number of persons.

The sexton studied me; again he clicked his tongue twice. “The boy, yes,” he said in his soft voice. “I do not much care for childhood. It is a state of terrible vulnerability, and is therefore unnatural and incompatible with human life. Everyone will cut you, strike you, cheat you, everyone will offer you suffering when goodness should reign. And because children can do nothing for themselves, they need good advocates, good parents. But a good parent is as rare as snow in summer, I am afraid. Well.” He smiled sadly. “It is possible I have some prejudices in this respect.” “You are an orphan yourself, are you

He noted a depth and sadness in Sun Moon's eyes, the faint lines around them bespeaking a resoluteness in the face of loss, and it took everything in him to suppress the memory of Rumina. And then the idea of a portrait, of any person, placed over your heart, forever, seemed irresisitible. How was it that we didn't walk around with every person who mattered tattoed on us forever?

Remind me how to play? Or actually, tell me how to play. I don't think I ever have before." His mouth tensed, briefly, and Lily added another item to her increasing store of knowledge of how sad the duke's childhood had been. All three of them had been orphaned in their own ways, hadn't they? No wonder they got along so well. It felt . . . it almost felt as though they were a family.

I should have felt something—a pang of sadness, a twinge of nostalgia. I did feel a peculiar sensation, like oceanic despair that—if I were in a movie—would be depicted superficially as me shaking my head slowly and shedding a tear. Zoom in on my sad, pretty, orphan face. Smash cut to a montage of my life's most meaningful moments: my first steps; Dad pushing me on a swing at sunset; Mom bathing me in the tub; grainy, swirling home video of my sixth birthday in the backyard garden, me blindfolded and twirling to pin the tail on the donkey. But the nostalgia didn't hit. These weren't my memories. I just felt a tingling in my hands, an eerie tingle, like when you nearly drop something precious off a balcony, but don't. My heart bumped up a little. I could drop it, I told myself—the house, this feeling. I had nothing left to lose.

My Mother They are killing her again. She said she did it One year in every ten, But they do it annually, or weekly, Some even do it daily, Carrying her death around in their heads And practicing it. She saves them The trouble of their own; They can die through her Without ever making The decision. My buried mother Is up-dug for repeat performances. Now they want to make a film For anyone lacking the ability To imagine the body, head in oven, Orphaning children. Then It can be rewound So they can watch her die Right from the beginning again. The peanut eaters, entertained At my mother’s death, will go home, Each carrying their memory of her, Lifeless – a souvenir. Maybe they’ll buy the video. Watching someone on TV Means all they have to do Is press ‘pause’ If they want to boil a kettle, While my mother holds her breath on screen To finish dying after tea. The filmmakers have collected The body parts, They want me to see. They require dressings to cover the joins And disguise the prosthetics In their remake of my mother; They want to use her poetry As stitching and sutures To give it credibility. They think I should love it – Having her back again, they think I should give them my mother’s words To fill the mouth of their monster, Their Sylvia Suicide Doll, Who will walk and talk And die at will, And die, and die And forever be dying.

Take my words read my poetry make my thoughts breathe life why should distances matter? between us there may be oceans there may be deserts between us take my words read my poetry make my thoughts breathe life wrap my words around you as your shawl my words will warm your body and soul take my words read my poetry make my thoughts breathe life my words are orphans since birth give them a home in your heart they talk to us words too smile and dance they too have life words are tender and sensitive too words understand when others may not words are loyal they will stay with us words don’t leave they will live with us words are kind and loving and caring too they make us happy when we may be sad words are philosophical they make us go deep to understand life and things that happen words are our identify words are for eternity words make us who we think we are and who we become take my words read my poetry make my thoughts breathe life.

Lullaby of Crossing the River" Carrying a day is like carrying a mountain, those endless small words men use to guard their helplessness. Put your day down. Come to the bank in the snow wearing grace and pain, the silence at the end of sentences. Breathe the snow and the sad odor of human dust. All the roads are inside you, even the desire not to desire brooding over your own horizon. The innocents await you. There is no one to wish farewell except yourself in the orphaned dark.

The beauty isn’t in the jewel itself, but in the way the light shines through it. Emmy, on the other hand, was a cutie, with a thick mop of curls just like Little Orphan Annie in the funny papers, and we all loved her. “I’m happy they’ve fed you,” Mrs. Frost said. “You have a very busy day ahead.” I reached out to tickle Emmy. She stepped back, giggling. I looked up at her mother and shook my head sadly. “Mr. Volz told me. I’m working Bledsoe’s hayfields.” “You were going to work for Mr. Bledsoe. I’ve managed to get your assignment changed. You’ll be working for me today. You and Albert and Moses. My garden and orchard need seeing to. Mr. Brickman just gave me approval to use all three of you. Finish your breakfast and we’ll be off.” I gulped down what was left and took my bowl to the kitchen, where I explained to Mr. Volz what was up. He followed me back to the table. “You got Brickman to change his mind?” the German said, clearly impressed. “A little flutter of the eyelashes, Mr. Volz, and that man melts like butter on a griddle.” Which might have been true if she’d been a beauty. I

Dear Orphan Soul, I never thought it is was easy to wipe away your tears when you are used to crying endlessly on the inside. Today was the first time ever that I felt a sense of relief. I laughed for the first time in a long time, or maybe my first time ever. I used to think I was permanently damaged, but Nurse Hope told me that it is okay for me to be myself. However, I do not know who I am. All my life, my mind and actions have been like loaded guns. I never knew when or where the bullets were coming from—most of the time, they came from someone else, and sometimes they came from me. My eyes are wet with tears as I write because of my life struggles. Sadness still remains because Nurse Hope says this is not permanent. Well, to give myself hope, nothing lasts forever. Therefore, nothing in life is permanent. Right? I am an orphaned soul. Nurse Hope's love reminds me of the ocean’s tide. It is a cycle of crashes as it knocks against the stones and shells as it gradually rolls up on the shore. I wonder if her love is going to say farewell to Kace and me as it sucks and pulls itself back into the ocean. Well, we’ve been washed up since we’ve been born. I hope instead of the tides sucking Nurse Hope's love away, I hope it sucks up our memories as they fade away with the tides, never to be found or returned again. Nothing is permanent.

CHORUS OF NIGHT VOICES Come out, come out, wherever you are, you dreamers and drowners, you loafers and losers, you shadow-seekers and orphans of the sun. Come out, come out, you flops and fizzler, you good-for-nothings and down-and-outers, a day's outcasts, dark's little darlin's. Come on, all you who are misbegotten and woebegone, all you with black thoughts and red-fever-visions, come on, you small-town Ishmaels with your sad blue eyes, you plain Janes and hard-luck guys, come, you gripers and groaners, you goners and loners, you sad sack and shlemiels, come on, come on, you pale romantics and pie-eye Palookas, you has-beens and never-will-bes, you sun-mocked and day-doomed denizens of the dar: come out into the night.

Chapter Eleven She did not spend long in the supermarket at Riverwalk, confining her purchases to supplies she would need for the next few days. There was beef for stew, a large pumpkin, a packet of beans, a dozen eggs, and two loaves of bread. The pumpkin looked delicious—almost perfectly round and deep yellow in colour, it sat on the passenger seat beside her so comfortably as she drove out of the car park, so pleased to be what it was, that she imagined conducting a conversation with it, telling it about the Orphan Farm and Mma Potokwane and her concerns over Mma Makutsi. And the pumpkin would remain silent, of course, but would somehow indicate that it knew what she was talking about, that there were similar issues in the world of pumpkins. She smiled. There was no harm, she thought, in allowing your imagination to run away with you, as a child’s will do, because the thoughts that came in that way could be a comfort, a relief in a world that could be both sad and serious. Why not imagine a talk with a pumpkin? Why not imagine going off for a drive with a friendly pumpkin, a companion who would not, after all, answer back; who would agree with everything you said, and would at the end of the day appear on your plate as a final gesture of friendship? Why not allow yourself a few minutes of imaginative silliness so that you could remember what it was like when you believed such things, when you were a child at the feet of your grandmother, listening to the old Setswana tales of talking trees and clever baboons and all the things that made up that world that lay just on the other side of the world we knew, the world of the real Botswana. Mma Ramotswe

Watching, the ancient bull whale was swept up in memories of his own birthing. His mother had been savaged by sharks three months later; crying over her in the shallows of Hawaiki, he had been succoured by the golden human who became his master. The human had heard the young whale’s distress and had come into the sea, playing a flute. The sound was plangent and sad as he tried to communicate his oneness with the young whale’s mourning. Quite without the musician knowing it, the melodic patterns of the flute’s phrases imitated the whalesong of comfort. The young whale drew nearer to the human, who cradled him and pressed noses with the orphan in greeting. When the herd travelled onward, the young whale remained and grew under the tutelage of his master. The bull whale had become handsome and virile, and he had loved his master. In the early days his master would play the flute and the whale would come to the call. Even in his lumbering years of age the whale would remember his adolescence and his master; at such moments he would send long, undulating songs of mourning through the lambent water. The elderly females would swim to him hastily, for they loved him, and gently in the dappled warmth they would minister to him. In a welter of sonics, the ancient bull whale would communicate his nostalgia. And then, in the echoing water, he would hear his master’s flute. Straight away the whale would cease his feeding and try to leap out of the sea, as he used to when he was younger and able to speed toward his master. As the years had burgeoned the happiness of those days was like a siren call to the ancient bull whale. But his elderly females were fearful; for them, that rhapsody of adolescence, that song of the flute, seemed only to signify that their leader was turning his thoughts to the dangerous islands to the south-west.

Much of our grief comes from having to crouch and live hidden from the gaze of others, and in that posture we confirm our exile. I hear these outcast brothers and sisters every day in my practice. Their numbers are many, and their grief encompasses every aspect of human life. For some, these outcast pieces are connected to their sexuality and bodies; for others, it is their anger or sadness—or their joy and exuberance—that has been banished. For many, it is their needs that were ignored. These outcast portions of soul do not quietly languish at the edges of our awareness; they appear as addictions, depression, or anxiety, calling for our attention. They appear in our dreams as waifs and orphans, in images of ghettos and prison cells. One man, struggling with alcoholism, had a dream that he was walking into a bar, oblivious to a beautiful woman standing there. As he entered, she shouted, “Hey, when are you going to pay attention to me?” Here was his soul calling to him, demanding that he turn and attend to his neglected life.

His sadness resonated with me and we were drawn to one another.

The familiar if sad tale of Apple Computer illustrates this crucial concept. Apple has suffered of late because positive feedback has fueled the competing system offered by Microsoft and Intel. As Wintel’s share of the personal computer market grew, users found the Wintel system more and more attractive. Success begat more success, which is the essence of positive feedback. With Apple’s share continuing to decline, many computer users now worry that the Apple Macintosh will shortly become the Sony Beta of computers, orphaned and doomed to a slow death as support from software producers gradually fades away. This worry is cutting into Apple’s sales, making it a potentially self-fulfilling forecast. Failure breeds failure: this, too, is the essence of positive feedback.

I'm going to be an orphan like you." .... "I miss Dad every day" ... "I miss everything.” ... I woke up early with a heavy sadness... I was so stressed that I woke up at 2 a.m., mad with remorse... Frantic...

And then I did the best thing I knew to do with the strange concoction of sadness and hope brewing inside me. I prayed. I prayed for the people whose initials were on those slivers. Not just for those people, but for the cave people before them and the robot people after them. For real orphans. For all the people who have lost shoes in the road. For kids whose parents play war. For Toodie Bleu Skies and Toodi Bleu Nordenhauer, for M. B. McClean and Douglas Nordenhauer. And all the people who need to find the magic in Make Believe. That, I figured, just about covered the whole world.

I felt sad, but not necessarily about my father. What I was mourning wasn’t just my brother, or my father, or my cousin, or Chunk, or Tammy. I was mourning the childhood that had lasted years into my adulthood—because I got stuck. I was reconciling myself to the loss of my youth as a self-actualized adult, now that I had the tools to face it all—and now that I was officially an orphan, and had no choice but to grow up.

He stopped, gazing at the girl who stood before it. The man guessed the child to be ten years old. She had dark brown hair to her neck with ends that showed curls, ivory skin and large eyes of sapphire blue. Thin and barefooted, with soot on her face she wore an old, tattered white dress. As the child turned to look at him, the man thought she must be an orphan beggar and he was unable to tear his face away from her eyes. Those bright blue eyes filled with an incomprehensible sadness. What pain did she carry?

There is a history to art, I've learned. Religion. Philosophy. Myth. Photography. I am reading about them. But there are chapters, whole books, missing. I see the stories of women, but they are always stuck inside the stories of men. Why is that?... I pull down from the shelves a book of world mythology and my sadness grows. Artemis, why the paler sister of Apollo, whom she brought through blood into the world from her mother's womb with her own hands? I turn to the section about my part of the world, and in the mythology of my so-called people--the goddesses--what use are they? Why did I ever like these stories? What is Gabija, goddess of fire, who protects against unclean people? I do not need this protection. It is a trick to place fear there. What use is Laima, goddess of fate, luck, childbirth, marriage, and death, if she keeps women inside the house, away from the open space of the world? Saule--saint of orphans, symbol of the sun...who cannot teach me what the fire inside me is. Who would have me put it out, or give it to a man? Still, I have torn pictures of them all from books and pasted them next to my own paintings in the barn, hoping for company. Though I find it hard to trust them. I wonder about what they want.

lonely creep, wandering orphan and many more bad names. But what can I do? I'm just a sad green thing with no origins.

All I could do was laugh, but it wasn’t funny. I find it incredibly sad to be tickled by an orphan.

A shadow has no relatives he is universally orphan

Why won’t you give up this silly idea of homesteading?” Gertrude went on. Her tone of voice was moderate, but her blue eyes were snapping. “I can’t help thinking you’re just being stubborn, Lily. Caleb is well able to provide for you, I assure you. He comes from one of the finest families in Pennsylvania—I’ve known the Hallidays a long time.” Lily looked down at the floor for a moment, gathering her courage. “You wouldn’t understand,” she said softly. Gertrude sighed. “Do sit down,” she told Lily kindly, taking a chair herself. “Now what is it that I would find so difficult to understand?” “I love Caleb very much,” Lily began in a shaky voice, “but I’m not the woman for him.” Mrs. Tibbet raised her eyebrows. “Oh? And why not?” Lily leaned forward in her chair and lowered her voice to a whisper. “I think I may be like my mother.” “How so?” Mrs. Tibbet asked, smoothing her skirts. “She was—she drank. And there were men. Lots of men.” “Oh, dear,” said Mrs. Tibbet seriously. “And you drink?” Lily swallowed. “Well—no.” “Then there are men.” “Only Caleb,” Lily said quietly. “But he can make me do and say the most shameful things. I’m so afraid it’s because I’m—er—hot-blooded.” Mrs. Tibbet looked as though she might be trying to suppress a smile. “You wouldn’t be the first girl who’d given herself to a man before marriage, Lily. It isn’t a wise course of action, but it happens often enough.” Lily drew in a deep breath. “I suppose the drinking would come later,” she said, discounting Mrs. Tibbet’s remarks as mere kindness. “And then the men. No, I’m sure I’m better off going on with my life just as I’ve planned.” There was a rap at the door, and then Velvet put her head inside. “Pardon, missus, but dinner’s ready, and the men say they’re going to eat without you if you don’t hurry.” “We’ll be there in a moment,” Mrs. Tibbet answered. “And tell the men that if they don’t wait, they’ll have me to deal with.” “Yes, ma’am,” Velvet replied with a hint of laughter in her voice. The door closed with a click. Mrs. Tibbet turned back to her guest. “If you were my own daughter, Lily, I would tell you the same thing. You couldn’t do better than Caleb Halliday if you searched the world over for a man. Don’t throw away a chance at real happiness—it might be the only one you get.” Lily pushed herself out of her chair and went to stand at the window. From there she could see the moon rising above the roof of the house next door; it looked as though it had just squeezed out of the chimney. “Sometimes I think I know what I want. I’ll decide that I want to marry Caleb and forget all about having a homestead. But then I remember what Mama was like.” “Lily, you’re not your mother.” “No,” Lily agreed sadly, turning to face Mrs. Tibbet, her hands clasped in front of her. “But Mama was young and happy once, and she must have thought she was in love with my father. She married him, she had his children. And then something changed, and she began to drink. Papa went away—I don’t even remember him—and the men started coming around, one after the other …” Gertrude came to take Lily’s hands in her own. “Things will be different for you,” she said quietly. “You’re strong, and so is Caleb. Oh, Lily, don’t be afraid to take a chance.” At that moment the colonel thundered from the hallway that he was going to have his supper right then whether the women cared to come to the table or not, and Lily smiled. “I promise I’ll think things through very carefully, Mrs. Tibbet.” “Don’t take too long,” Gertrude answered, ushering her toward the door of the study. “Fate can take the strangest twists and turns, sealing us off from someone when we least expect it.” At

Inside the coat is my name, embroidered by a volunteer at the Children’s Aid Society: Niamh Power. Yes, Niamh. Pronounced “Neev.” A common enough name in County Galway, and not so unusual in the Irish tenements in New York, but certainly not acceptable anywhere the train might take me. The lady who sewed those letters several days ago tsked over the task. “I hope you aren’t attached to that name, young miss, because I can promise if you’re lucky enough to be chosen, your new parents will change it in a second.” My Niamh, my da used to call me. But I’m not so attached to the name. I know it’s hard to pronounce, foreign, unlovely to those who don’t understand—a peculiar jumble of unmatched consonants. No one feels sorry for me because I’ve lost my family. Each of us has a sad tale; we wouldn’t be here otherwise.

We often speak of a man who’s done this successfully as a “self-made man.” The appellation is usually spoken with a sense of admiration, but really it should be said in the same tones we might use of the dearly departed, or of a man who recently lost an arm—with sadness and regret. What the term really means is “an orphaned man who figured how to master some part of life on his own.

What is it?” he asked quietly, his eyes full of concern. “What have you been doing that’s so terrible?” A great shudder of anguish moved through Velvet. Once he learned the truth Hank would never forgive her, but there had been enough running away, and she couldn’t bring herself to lie. Not to this man. She accepted the handkerchief he offered and dried her face. “Things was hard after Pa and Eldon died,” she managed to say, mopping at her eyes again. Hank nodded, his gaze tender, silently urging her to go on. Velvet drew in a deep breath and gripped a picket of the gate in one hand. For the first time in her life she thought she might faint. “I did cleanin’ work mostly till I came to Fort Deveraux. I’d heard I could make a lot of money here, washin’ clothes for the soldiers.” She paused and looked away for a moment, drawing strength from the orange and crimson blaze of the setting sun. “I found out soon enough that there were a lot of other women here lookin’ to wash clothes—there just wasn’t enough work to go around. I—I ended up takin’ money from men.” For a moment Hank just stood there, the color draining out of his skin. “For what?” he asked, his voice a low rasp. Velvet felt as though she was being torn apart piece by piece, organ by organ. She lowered her eyes for a moment, then met Hank’s gaze squarely. He knew—she could see that—but he was going to make her tell him. “For sleepin’ with me,” she said. With a muttered exclamation Hank turned away, his broad shoulders stiff beneath the rough, plain fabric of his shirt. Velvet reached out her hand, then let it fall helplessly to her side. She’d lost him a second time, and the experience was a cruel one. She doubted she’d ever recover from it. “I’m sorry,” she whispered. He whirled so suddenly that Velvet was startled and leapt backward. His face was taut with anger and pain. “You were my woman,” he whispered with hoarse fury. “How could you have let another man touch you?” The resilience that had allowed Velvet to survive the many hardships life had dealt her surged to the fore. She advanced on Hank, raging. “I wasn’t your woman. I wasn’t anybody’s woman. I was all alone in this world, and I did what I had to do!” Hesitantly Hank lifted his hand to her face. His thumb brushed away a tear. “There wasn’t a day or a night that I didn’t think about you, Velvet.” She hugged herself, afraid to hope or trust. “I didn’t love none of those men,” she said miserably. “I could only stand lettin’ them touch me because I pretended they was you.” Hank’s smile was soft and infinitely sad. “I’m not going to lose you again because of pride,” he said. “I don’t like that you took money from those men, but I figure I love you enough to get by that in time. All that really matters to me is now, Velvet. Now and next week and next year, and all the years after that, when you and I are going to be together.” Velvet hardly dared to believe her ears. She’d had very little good fortune in her life; she didn’t know how to deal with much besides trouble. “Folks around here won’t ever forget—there’ll be talk—” He laid two fingers to her lips, silencing her. “I don’t care,” he said. “I’ve found you. That’s all that’s important.” With a sob, Velvet let her head drop against Hank’s sturdy chest. Tenderly he enfolded her in his arms. “Hush, now,” he said. “Things are going to be different after this. Very different.” An

You done trifled with that girl, ain’t you?” Steven swallowed a bite of sausage before answering. “In a manner of speaking,” he confessed, remembering the warm softness of Emma’s breasts, and the way their peaks had hardened for him like sweet candy. Daisy’s hardworking hands were resting on her generous hips. “There gonna be a baby?” Steven shook his head. Things hadn’t gone quite that far; no, Emma’s babies would probably look like that banker Callie had told him about, not him, and the realization filled him with sadness. “No chance of that, Daisy, so you don’t need to worry.” “Well, I is worried,” Daisy insisted. “Miss Emma ain’t herself. She’s off her food, she don’t sleep at night. Not only that, she don’t argue back with me or Chloe when we bosses her around. Somethin’s wrong.” Steven’s appetite was gone, and he laid down his fork. “She’ll be all right,” he promised gently, but he wasn’t at all sure of that.

What will you do if Steven’s convicted?” was his question. At first, Emma couldn’t face the thought. Then she allowed the nightmare to take root in her mind and answered. “I’d go away—maybe to Chicago or New York—and try to make a life for myself.” “You wouldn’t stay at Fairhaven?” Cyrus asked and, for all of it, he sounded surprised. Even a little wounded. She told him about Macon’s repeated threats and felt his arm stiffen around her shoulders. “I’d protect you,” he said after a long time. Then with a sigh he added, “But, of course, I’m an old man.” Emma caught one of his hands in both of hers and squeezed it. “I can’t tell you how much your kindness has meant to me. You’ve been so good to Steven—many men would have refused to acknowledge him, let alone take his side in a murder case.” Cyrus smiled sadly. “He’s got my blood flowing in his veins.” Emma frowned. “Why does Macon hate Steven so much?” He sighed. “Because he knows Steven’s a better man than he is. And that makes Macon damn dangerous.” Emma

What are you thinking?” Caleb asked, coming up behind her. She could feel his breath on her nape, warm and gentle. His arms slipped around her, pulling her close. “That I envy Hank and Velvet,” Lily said honestly. “It’s so simple with them. They’re just—well—together. And they’re not sure but they think they’re going to have a baby.” Caleb turned Lily to face him. “And so are we,” he reminded her, his arms around her again. She looked up at him. “Yes,” she answered, “it would seem so.” She drew a deep breath and let it out again. “I don’t think we should make love anymore, Caleb.” “Why not?” “Because we’re not married, and we don’t have any intention of ever being married. That’s sinful.” Caleb bent to taste her lips. “I couldn’t agree more. That it’s sinful for us not to be married, I mean.” Lily stiffened when she felt herself beginning, already, to respond to Caleb’s touch. “But you aren’t willing to concede anything, are you?” “I won’t promise to stay here for the rest of my life, if that’s what you mean.” An overwhelming sadness filled Lily. What wild impulse had made her hope that tonight would be different? She pulled out of his arms. “Good night, Caleb,” she said, turning and starting toward the new house, where Lily would sleep for the first time. Caleb

Look at me,” he said hoarsely. Emma brought her eyes to his face and swallowed hard. It was so good to be close to him again, in spite of everything, that she wanted to weep. “What are you doing here?” “I told you,” she said with some effort, gently knotting the bandage to make it stay. “I wanted to warn you about your brother.” He stood and led her around behind a stand of trees and brush, where he took a seat on a birch stump. Then he pulled her downward, so that she was sitting astraddle of his lap. “You took some big chances, Miss Emma. I want to know why.” Emma lowered her eyes. “Because I love you, Mr. Fairfax,” she replied in a soft, broken voice. Steven was silent for such a long time that Emma feared he was going to send her away. When she finally brought herself to meet his gaze, she was amazed to see that he was smiling. “You love me?” “Yes, God help me,” Emma sighed. Her arms went around his neck. “I love you so much, it hurts.” “Even though you’re not sure whether I’m a killer or not?” Emma nodded sadly. He laughed, and it was a joyful, raucous sound. His hands interlocked at the small of Emma’s back, he planted a noisy kiss on her mouth. “If I didn’t know those cowboys up there would tell the story around the campfire for years to come, I’d take you right now.” She would have responded wholeheartedly, but she fancied she could hide the knowledge from Steven. He put his hand under her chin and lifted. “I love you,” he said firmly. Emma had feared never to hear those words from him, and relief made her sigh and rest her forehead against his.

You’re in love with him,” Sandra said in a delighted whisper. Lily thought of her half-section of land, of the corn crops and fruit trees that would one day grow there. She forced herself to remember that Caleb wanted to keep her, not marry her. And, of course, there was the fact that he was a soldier. “No!” she protested, guarding her dreams. Sandra folded her hands in her lap. Her amethyst eyes sparkled with mischief. “I don’t believe you.” “I don’t care,” Lily snapped, out of patience. Sandra laughed. “You needn’t be so testy about it. Caleb never loved me, Lily—I’m no worry to you.” “If he didn’t love you, why did the two of you get married?” Lily asked reasonably. Sandra’s slender shoulders moved in a pretty shrug. “My aunt and uncle are among Caleb’s oldest friends. I suppose we were sort of thrown together.” Lily found the courage to ask, “Did you love him?” Sandra thought carefully. “I don’t think I knew what love was until it was too late and I’d lost him.” A terrible sadness swept through Lily. “But you love him now?” “Yes,” Sandra said with a small, resigned sigh. “For all the good it does me. I had hoped Caleb might see things differently if I came back, but I was too late. You’re here.” Lily was sitting on the very edge of her chair. Not since her years with the Sommers family had she felt like such an intruder. “I’ll go back to Tylerville,” she promised. “If only the stage hasn’t left.” Sandra reached out and closed her hand over Lily’s. “You mustn’t go—you belong here, with Caleb.” “You seem to think this is much more serious than it is,” Lily hastened to explain. “I hardly know Caleb. We sat together in church, and he came to supper one night, but—” “His eyes glowed when he told me about the picnic,” Sandra interrupted. Lily wondered if he’d mentioned kissing her. “He—he told you?” “We talk about everything,” Sandra said. “Caleb regards me as a friend.” These

Emma, we’ve got to elope—now. Tonight. That way, I’ll be able to present you to Mother as a fait accompli.” Stunned, Emma jerked her arm from his grasp. “Fulton, I’ve told you…” He laid a fingertip to her lips. “Don’t say it. I know Mother intimidates you, Emma, but once you’re my wife, she’ll accept you, I know she will.” The pain Emma felt must have been visible in her eyes when she looked up at Fulton, but if he saw it, he didn’t react. Perhaps he would listen if she approached the subject from his point of view, rather than her own. “Fulton, there’s a lot of talk about me, and—” His hands grasped her shoulders. “I don’t care, Emma,” he whispered. For the first time, she noticed that his lower lip was cut and slightly swollen. She touched the wound gently. “What happened?” Again his eyes skirted hers. “It’s nothing you need to worry about, darling,” he said. “Now, listen to me. We must get married right away!” “I can’t do that,” Emma said miserably. “I know women like a church wedding, but—” “That isn’t the reason. Fulton, I don’t love you. It would be a dreadful mistake for us to marry.” He was still holding her shoulders, and he gave her an angry little shake. “You’ll have tender feelings for me soon, Emma, I promise you. Come away with me tonight!” Emma pulled free. “I can’t.” “Is it true, then, Emma—what everybody’s saying about you and Fairfax?” The question was so direct that it startled Emma. “I guess that depends on what’s being said,” she replied sadly. Then, holding her shawl more closely around her against the evening chill, she started up the bank toward Chloe’s house. Fulton had no choice but to follow. He stopped her at the edge of the lawn, again by taking her arm. This time his hold was too tight for her to pull out of. “I don’t care if it’s all true,” he sputtered. “Do you hear me, Emma? I don’t care. I still want you more than I’ve ever wanted anything!” Emma sighed. “What are they saying?” she asked, braced for the worst. Fulton’s hand dropped from her arm and he lowered his head. “That you spent the nights in his room.” Emma’s cheeks flamed, but her chin rose to an obstinate level. “That’s a lie.” A bright smile broke over Fulton’s face. “I knew it was.” Guilt pummeled Emma like an invisible fist. “You’d want to marry me, even if I’d said the rumors were true?” Fulton nodded. “It’s no secret that I’m eager for the—solaces of marriage, Emma. I’m willing to overlook a great deal to have you.” The

I’ll never forget this night,” he said quietly. Lily held the cup in both hands and took an unladylike gulp before remembering her manners. She dropped one hand and sipped. “Neither will I,” she confessed when her thirst had been satisfied. A certain sadness possessed her. “I wish it never had to end.” Caleb tilted his head back to look at the starry sky for a moment before meeting her gaze directly. “It doesn’t have to end, Lily. We could be together.” She nearly dropped the small glass cup. Lily knew what he meant, and, for her, the magical mood of the evening had been spoiled. “We hardly know each other,” she said in a chilly voice. He moved a step nearer—they were almost as close as they had been when they were dancing—and took the cup from her hand. After setting it on the porch railing he curved a finger under Lily’s chin and lifted. “As naive as you are, Lily-flower,” he said gruffly, “you must know that something is happening between us.” She trembled at his touch. “Yes,” she admitted as his mouth drew nearer to her own. The kiss was inevitable, and it was powerful. It left Lily sagging against Caleb’s chest, her hands gripping the front of his uniform coat. “Come with me,” he said quietly, and Lily could no more have defied him than she could have reached out and snatched a star from the sky. He

They have no true interest in where I have been or what I have seen. They crave the fruits of exile, the bitter juices, and the heavy hearts. They yearn for a taste of the pure, sea-salt sadness of the outcast whom they have brought into their homes. And I am but one within a long line of others. The Algerian orphaned by a famine, the Moroccan violated by his uncle, the Madagascan driven out of his village because his shriveled left hand was a sign of his mother's misdeeds, these are the wounded trophies who have preceded me.

Have you met Terry? The housekeeper?” Molly nods. “Actually, she’s Jack’s mother.” Dina perks up. “Wait a minute. Terry Gallant? I went to high school with her! I didn’t know Jack was her kid.” “Yep,” Molly says. Waving a chunk of hot dog around on her fork, Dina says, “Oh, how the mighty have fallen.” Molly gives Ralph a what the fuck? look, but he just gazes placidly back. “It’s sad what happens to people, y’know?” Dina says, shaking her head. “Terry Gallant used to be Miss Popular. Homecoming Queen and all that. Then she got knocked up by some Mexican scrub—and now look at her, she’s a maid.” “Actually, he was Dominican,” Molly mumbles. “Whatever. Those illegals are all the same, aren’t they?” Deep breath, stay cool, get through dinner. “If you say so.” “I do say so.

waited for her truths to break her. I wondered if they’d cause her to crumble. After days of tears and more gutted trees in the woods, she’d rid herself of the sadness of discovering she’d been orphaned just as I’d hoped, putting all her faith in me and me alone. The man who still held her biggest secret.

I read somewhere there are two deaths, the second overcoming the first. The first happens when the body dies and the other is the last time someone says your name.

Could there exist true happiness in a marriage when the man is the only one who can regularly exercise his free will and satisfy his desires, without caring whether or not his wife agrees? Accustomed to the passive obedience of women, he does not bother to find out whether or not she is satisfied with his conduct. And if she is not, he does not attempt to please her, nor to adapt his conduct to a new way of life. How can the holy priestess of the hearth preserve the sacred fire of love in the home when she has to officiate alone? Where is the principal object of her devotion? Look for him outside the home at those times when he should be at the side of his companion. Will a solid foundation for domestic happiness be established by this behavior? No. Men have the right to do or undo, without his companion. He goes to a masked ball or not, to the casino, to gamble, or chases other women.... and meanwhile, poor woman! A sad scenario for domestic bliss! She is subjected to a sad solitude for days and nights on end, orphaned of love, of sweet attentions and joys while the above-mentioned companion gambles, dances... or falls in love.

The party?” She gave a sad little laugh. “I guess … I guess I wanted the attention.” The sentence hung in the air between them, an ugly little confession that was also somehow graceful in its honesty.

I am well aware already of the tricks that memory plays, of the traps that snare my mind do I recall only the good things, of how it chooses the nice apples from the tray and tosses out the bad things – like peels, like horse chestnuts – as if they’d never happened. I don’t know what hurts more: thinking only of the good memories and giving in to the piercing longing that never lets up, that intoxicated the soul, or bathing in the streams of thought that lead me to sad memories, the dark and cloudy ones that choke my heart and leave me feeling even more orphaned…

We can’t have any crying fucking orphans or sad old people in the background. War has to look clean for the people at home. If there’s so much as litter in your video, you put it in the vault, got it?

I’m angry, possessed and out of my fucking mind. My knuckles land on his nose, shattering it with a chilling sound, and I follow it with another fist as I smash his mouth with a brutal blow. A tooth pops out and rolls on the grass. I hit him until all I see is blood. I hit him even though I know that he might be dead. I hit him for reasons that have nothing to do with him. I hit him because I’m an orphan, an ex-felon, a captor and a guy who’s in lust with a girl he cannot have. Because I’m a sad boy, a broken man and a lonely soul. A barbaric savage, a poet with a heart of gold and a nobody who is desperate to become somebody. And I hit him because I need him dead. Because I can’t chance him finding me again. But I don’t just kill him. No. I’m butchering him with my stone-cold heart. Because he’s not a person. He’s a symbol. Representing everything I hate. Everything I want to turn my back on. Everything that’s taking the only thing I was born with, other than this stupid beautiful face, and that still belongs to me. My peace.

I felt sad when I lost my father but today I feel even more sad, because I always see orphans with both parents

He abhorred how Billy was killed. It seemed sadly ironic the boy died trying to protect a bunch of girls who were never nice to him. After all the kindness the boy doled out over the years and all the crap he’d taken, he deserved a proper burial, didn’t deserve to lay facedown in his blood and be left to rot in the dark corner where he was murdered.

For some reason, it never occurred to me that the jaws of death could touch someone next to me. Never once did I think the people whom I cared about could simply cease to exist. Or what would be the consequences of it.

Some do sing, and some do tell, Of stories great and true. But we who toil and struggle here, To see the winter through. To us it’s just another word, A word they always say, To comfort us throughout the night, Until the dawn of day. We haven’t seen but always heard, How sad; love is just another word.