Overlapping Quotes

Only the ship is made of books, its sails thousands of overlapping pages, and the sea it floats upon is dark black ink.

Someone needs to tell those tales. When the battles are fought and won and lost, when the pirates find their treasures and the dragons eat their foes for breakfast with a nice cup of Lapsang souchong, someone needs to tell their bits of overlapping narrative. There's magic in that. It's in the listener, and for each and every ear it will be different, and it will affect them in ways they can never predict. From the mundane to the profound. You may tell a tale that takes up residence in someone's soul, becomes their blood and self and purpose. That tale will move them and drive them and who knows what they might do because of it, because of your words. That is your role, your gift. Your sister may be able to see the future, but you yourself can shape it, boy. Do not forget that... there are many kinds of magic, after all.

I always like that thought, the way two people really did seem to grow into one. Or at least two overlapping parts, trees with tangled roots.

Stories have changed, my dear boy,” the man in the grey suit says, his voice almost imperceptibly sad. “There are no more battles between good and evil, no monsters to slay, no maidens in need of rescue. Most maidens are perfectly capable of rescuing themselves in my experience, at least the ones worth something, in any case. There are no longer simple tales with quests and beasts and happy endings. The quests lack clarity of goal or path. The beasts take different forms and are difficult to recognize for what they are. And there are never really endings, happy or otherwise. Things keep overlapping and blur, your story is part of your sister’s story is part of many other stories, and there in no telling where any of them may lead. Good and evil are a great deal more complex than a princess and a dragon, or a wolf and a scarlet-clad little girl. And is not the dragon the hero of his own story? Is not the wolf simply acting as a wolf should act? Though perhaps it is a singular wolf who goes to such lengths as to dress as a grandmother to toy with its prey.

Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.

And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister's story is part of many other stories, and there is no telling where any of them may lead.

It was like their lives were overlapping lines, like they had their own gravity. Usually, that serendipity thing felt like the nicest thing the universe had ever done for her.

They took to silence. They touched each other without comment and without progression. A hand on a hand, a clothed arm, resting on an arm. An ankle overlapping an ankle, as they sat on a beach, and not removed. One night they fell asleep, side by side... He slept curled against her back, a dark comma against her pale elegant phrase.

So that’s how we live our lives. No matter how deep and fatal the loss, no matter how important the thing that's stolen from us - that's snatched right out of our hands - even if we are left completely changed, with only the outer layer of skin from before, we continue to play out our lives this way, in silence. We draw ever nearer to the end of our allotted span of time, bidding it farewell as it trails off behind. Repeating, often adroitly, the endless deeds of the everyday. Leaving behind a feeling of insurmountable emptiness... Maybe, in some distant place, everything is already, quietly, lost. Or at least there exists a silent place where everything can disappear, melting together in a single, overlapping figure. And as we live our lives we discover - drawing toward us the thin threads attached to each - what has been lost. I closed my eyes and tried to bring to mind as many beautiful lost things as I could. Drawing them closer, holding on to them. Knowing all the while that their lives are fleeting.

Words could betray you if you chose the wrong ones, or mean less if you used too many. Jokes could be grandly miscalculated, or stories deemed boring, and I'd learned early on that my sense of humor and ideas about what sorts of things were fascinating didn't exactly overlap with my friends'.

Maybe I can climb one of those," Simon said, eyeing the fat white pillars that held up the slanted roof of the Hall. Runes were carved on them in overlapping patterns, but otherwise there were no visible handholds. "Work off steam that way." "Oh, come on," Clary said. "You're a vampire, not Spider-Man." Simon's only response was to jog lightly up the steps to the base of a pillar. He eyed it thoughtfully for a moment before putting his hands to it and starting to climb. Clary watched him, open-mouthed, as his fingertips and feet found impossible holds on the ridged stone. "You are Spider-Man!" she exclaimed.

And then it's always that one word that makes you so different and puts you outside the overlap of everyone else; and that word is so fucking big and loud, it's the only thing anyone ever hears when your name is spoken. And whenever that happens to us, all the other words that make us the same disappear in its shadow.

Emma swallowed. She was remembering Julian, two years ago, standing in the overlapping circles of fire where the parabatai ritual was performed. The look on his face as they each stepped into the central circle and the fire rose up around them, and he unbuttoned his shirt to let her touch the stele to his skin and carve the rune that would bind them together for their whole lives. She knew if she just reached out now, she could touch it, touch the rune cut into his shoulder, the rune she had put there …

Ever since the first day they'd met, Eleanor was always seeing him in unexpected places. It was like their lives were overlapping lines, like they had their own gravity. Usually, that serendipity felt like the nicest thing the universe had ever done for her.

School is one thing. Education is another. The two don’t always overlap. Whether you’re in school or not, it’s always your job to get yourself an education.

Needing was so easy: it came naturally, like breathing. Being needed by someone else, though, that was the hard part. But as with giving help and accepting it, we had to do both to be made complete-like links overlapping to form a chain, or a lock finding the right key.

MINDS ARE UNIQUE. They go wrong in unique ways. My mind went wrong in a slightly different way to how other minds go wrong. Our experience overlaps with other people's, but it is never exactly the same experience.

Ed, it was everything, those nights on the phone, everything we said until late became later and then later and very late and finally to go to bed with my ear warm and worn and red from holding the phone close close close so as not to miss a word of what it was, because who cared how tired I was in the humdrum slave drive of our days without each other. I’d ruin any day, all my days, for those long nights with you, and I did. But that’s why right there it was doomed. We couldn’t only have the magic nights buzzing through the wires. We had to have the days, too, the bright impatient days spoiling everything with their unavoidable schedules, their mandatory times that don’t overlap, their loyal friends who don’t get along, the unforgiven travesties torn from the wall no matter what promises are uttered past midnight, and that's why we broke up.

When enough insane people scream in harmony that they really are healthy, they can actually start to believe themselves. Or put even more simply: people with overlapping delusions get along wonderfully.

You look at me, you look at me closely, each time closer and then we play cyclops, we look at each other closer each time and our eyes grow, they grow closer, they overlap and the cyclops look at each other, breathing confusion, their mouths find each other and fight warmly, biting with their lips, resting their tongues lightly on their teeth, playing in their caverns where the heavy air comes and goes with the scent of an old perfume and silence. Then my hands want to hide in your hair, slowly stroke the depth of your hair while we kiss with mouths full of flowers or fish, of living movements, of dark fragrance. And if we bite each other, the pain is sweet, and if we drown in a short and terrible surge of breath, that instant death is beauty. And there is a single saliva and a single flavour of ripe fruit, and I can feel you shiver against me like a moon on the water.

What is family? They were the people who claimed you. In good, in bad, in parts or in whole, they were the ones who showed up, who stayed in there, regardless. It wasn't just about blood relations or shared chromosomes, but something wider, bigger. Cora was right- we had many families over time. Our family of origin, the family we created, as well as the groups you moved through while all of this was happening: friends, lovers, sometimes even strangers. None of them were perfect, and we couldn't expect them to be. You couldn't make any one person your world. The trick was to take what each could give you and build a world from it. So my true family was not just my mom, lost or found; my dad, gone from the start; and Cora, the only one who had really been there all along. It was Jamie, who took me in without question and gave me a future I once couldn't even imagine; Oliva, who did question, but also gave me answers; Harriet, who, like me, believed she needed no one and discovered otherwise. And then there was Nate. Nate, who was a friend to me before I even knew what a friend was. Who picked me up, literally, over and over again, and never asked for anything in return except for my word and my understanding. I'd given him one but not the other, because at the time I thought I couldn't, and then proved myself right by doing exactly as my mother had, hurting to prevent from being hurt myself. Needing was so easy: it came naturally, like breathing. Being needed by someone else, though, that was the hard part. But as with giving help and accepting it, we had to do both to be made complete- like links overlapping to form a chain, or a lock finding the right key. ~Ruby (pgs 400-401)

Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.

The dark and the light, they exist side by side, Sometimes overlapping, one explaining the other. The darkened path is as illuminated as the lightened, Only the fear of the dark keeps us from seeing our way.

In a matter of a few weeks, I went from hating you to liking you to wanting the world for you, so forgive me if those feelings sometimes overlap.

I had a curious feeling that I was living on several planes simultaneously; the overlapping of these planes was confusing.

Eliza got vanilla ice cream with butterscotch sauce, whipped cream, and a cherry. She asked me to get chocolate ice cream with hot fudge and marshmallows. This way, she explained, we could share without overlapping flavors. Except she was pretty goddamn stingy with hers. She only gave me one bite. Meanwhile I was supposed to let her eat half of mine.

I did my best to fight and claw my way back to the life I once knew, but panic had taken over and colors were swirling and fading all around me. It was all turning into a great cloud of blackness, just like the one I had seen in my dream. The looming cloud of nothingness I had feared for so long was finally grabbing me, wiping my world dark and blank. The darkness was thick and intense, an inky void that stretched to eternity in every direction. Eventually my panic burnt itself out and I simply stayed there in the dark, feeling as if someone had drained my adrenal glands. I was no longer responding to the dark with fear, but acceptance. In fact, curiosity was beginning to take over. The longer I let myself stare into it, the less dark it appeared. After some time, I realized that it was all different shades of murky black and foggy gray overlapping and undulating, just out of focus. I blinked mentally and suddenly she was there, standing above me with concern etched in sooty-colored lines on her monochromatic face.

People of different religions and cultures live side by side in almost every part of the world, and most of us have overlapping identities which unite us with very different groups. We can love what we are, without hating what – and who – we are not. We can thrive in our own tradition, even as we learn from others, and come to respect their teachings.

A daughter grows older and draws nearer to her mother, until she gradually overlaps her like a sewing pattern. But a son becomes some irreparably separate thing.

The webs spun by our existence had gracefully overlapped and knotted until you could not have one without the other. We were infinitely intertwined.

Every age, every culture, every custom and tradition has its own character, its own weakness and its own strength, it beauties and ugliness; accepts certain sufferings as matters of course, puts up patiently with certain evils. Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap... Now there are times when a whole generation is caught in this way between two ages, two modes of life, with the consequence that it loses all power to understand itself and has no standard, no security, no simple acquiescence. Naturally, every one does not feel this equally strongly.

When you are in your twenties, even if you're confused and uncertain about your aims and purposes, you have a strong sense of what life itself is, and of what you in life are, and might become. Later.. later there is more uncertainty, more overlapping, more backtracking, more false memories. Back then, you can remember your short life in its entirety. Later, the memory becomes a thing of shreds and patches.

The dreams of the rich, and the dreams of the poor - they never overlap, do they? See, the poor dream all their lives of getting enough to eat and looking like the rich. And what do the rich dream of? Losing weight and looking like the poor.

Many African societies divide humans into three categories: those still alive on the earth, the sasha, and the zamani. The recently departed whose time on earth overlapped with people still here are the sasha, the living-dead. They are not wholly dead, for they still live in the memories of the living, who can call them to mind, create their likeness in art, and bring them to life in anecdote. When the last person to know an ancestor dies, that ancestor leaves the sasha for the zamani, the dead. As generalised ancestors, the zamani are not forgotten but revered. Many … can be recalled by name. But they are not the living-dead. There is a difference.

A gunshot rang out, blasting a hole in the door. A crossbow quarrel zinged through the hole and stuck quivering into the opposite wall. Seth heard the rocking horse clattering down the staircase, the twang of bowstrings, and the overlapping beat of several other projectiles thudding against the door. "That was awesome," Seth told Kendra. "You're psychotic," Kendra replied.

And it's just dawned on me that I might be the author of my own story, but so is everyone else the author of their own stories, and sometimes, like now, there's no overlap.

Our worlds are all jumbled together--your world, my world, the sheepman's world. Sometimes they overlap and sometimes they don't.

maybe we try too hard to be remembered, waking to the glowing yellow disc in ignorance, swearing that today will be the day, today we will make something of our lives. what if we are so busy searching for worth that we miss the sapphire sky and cackling blackbird. what else is missing? maybe our steps are too straight and our paths too narrow and not overlapping. maybe when they overlap someone in another country lights a candle, a couple resolves their argument, a young man puts down his silver gun and walks away.

That's one of the things that "queer" can refer to: the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically.

His body was urgent against her, and she didn't have the heart anymore to fight...She saw his eyes, tense and brilliant, fierce, not loving. But her will had left her. A strange weight was on her limbs. She was giving way. She was giving up...she had to lie down there under the boughs of the tree, like an animal, while he waited, standing there in his shirt and breeches, watching her with haunted eyes...He too had bared the front part of his body and she felt his naked flesh against her as he came into her. For a moment he was still inside her, turgid there and quivering. Then as he began to move, in the sudden helpless orgasm, there awoke in her new strange thrills rippling inside her. Rippling, rippling, rippling, like a flapping overlapping of soft flames, soft as feathers, running to points of brilliance, exquisite and melting her all molten inside. It was like bells rippling up and up to a culmination. She lay unconscious of the wild little cries she uttered at the last. But it was over too soon, too soon, and she could no longer force her own conclusion with her own activity. This was different, different. She could do nothing. She could no longer harden and grip for her own satisfaction upon him. She could only wait, wait and moan in spirit and she felt him withdrawing, withdrawing and contracting, coming to the terrible moment when he would slip out of her and be gone. Whilst all her womb was open and soft, and softly clamouring, like a sea anenome under the tide, clamouring for him to come in again and make fulfillment for her. She clung to him unconscious in passion, and he never quite slipped from her, and she felt the soft bud of him within her stirring, and strange rhythms flushing up into her with a strange rhythmic growing motion, swelling and swelling til it filled all her cleaving consciousness, and then began again the unspeakable motion that was not really motion, but pure deepening whirlpools of sensation swirling deeper and deeper through all her tissue and consciousness, til she was one perfect concentric fluid of feeling, and she lay there crying in unconscious inarticulate cries.

Everything about Wesley Ayers is messy. My three worlds are kept apart by walls and doors and locks, and yet here he is, tracking the Archive into my life like mud. I know what Da would say, I know, I know, I know. But the strange new overlap is scary and messy and welcome. I can be careful.

The message is unmistakable; our own healing proceeds from that overlap of what we call good and evil, light and dark. It is not that the light element alone does the healing; the place where light and dark begin to touch is where miracles arise. This middle place is a mandorla.

Maybe in some distant place, everything is already, quietly, lost. Or at least there exists a silent place where everything can disappear. Or at least there exists a silent place where everything can disappear, melting together in a single overlapping figure. And as we live our lives we discover—drawing toward us the thin threads attached to each—what has been lost.

High school parties exhausted me because I always felt like I was the only thinking person in a room mostly full of morons obliterating precious IQ points with every gulp of whatever booze they managed to steal out of their parents' liquor cabinets. College parties are exhausting in a diametrically opposite way. They are full of smart, funny people who are all used to being the smartest, funniest person in the room, so they spend the whole party talking over one another, overlapping and overtaking the conversation to prove that they are the smartest, funniest person in the room, if not the entire planet.

But I love to feel events overlapping each other, crawling over one another like wet crabs in a basket

Adulthood is accretive by nature, a thing which arrives in ragged stages and uneven overlaps.

Human kindness can be found in all groups, even those which as a whole it would be easy to condemn. The boundaries between groups overlapped and we must not try to simplify matters by saying that these men were angels and those were devils.

In Hidden Writing, a main plot is constructed to camouflage other plots (which can register themselves as plot holes) by overlapping them with the surface (superficially dynamic plot) or the grounded theme. In terms of such a writing, the main plot is the map or the concentration blueprint of plot holes (the other plots).

Better to do nothing than to engage in localized acts whose ultimate function is to make the system run more smoothly. The threat today is not passivity, but pseudo-activity, the urge to "be active", to "participate", to mask the Nothingness of what goes on. People intervene all the time, "doing something"; academics participate in meaningless "debates," etc.; but the truly difficult thing is to step back, to withdraw from it all. Those in power often prefer even "critical" participation or a critical dialogue to silence, since to engage us in such a "dialogue" ensures that our ominous passivity is broken. The "Bartlebian act" I propose is violent precisely insofar as it entails ceasing this obsessive activity-in it, violence and non-violence overlap (non-violence appears as the highest violence), likewise activity and inactivity (the most radical thing is to do nothing).

There are intellectual vagabonds, to whom the hereditary dwelling-place of their fathers seems too cramped and oppressive for them to be willing to satisfy themselves with the limited space any more: instead of keeping within the limits of a temperate style of thinking, and taking as inviolable truth what furnishes comfort and tranquility to thousands, they overlap all bounds of the traditional and run wild with their imprudent criticism and untamed mania for doubt, these extravagating vagabonds.

There is perhaps only one thing to say to this infant, who is all future, overlapping briefly with me, whose life, barring the improbable, is all but past. That message is simple: When you come to one of the many moments in life where you must give an account of yourself, provide a ledger of what you have been, and done, and meant to the world, do not, I pray, discount that you filled a dying man's days with a sated joy, unknown to me in all my prior years, a joy that does not hunger for more and more but rests, satisfied. In this time, right now, that is an enormous thing.

The conversation follows its own rolling accord - no real structure or topic or internal logic or feeling; except, of course, for its own hidden, conspiratorial one. Just words, and like in a movie, but one that has been transcribed improperly, most of it overlaps.

Time overlaps itself. A breath breathed from a passing breeze is not the whole wind, neither is it just the last of what has passed and the first of what will come, but is more--let me see--more like a single point plucked on a single strand of a vast spider web of winds, setting the whole scene atingle. That way; it overlaps...As prehistoric ferns grow from bathtub planters. As a shiny new ax, taking a swing at somebody's next year's split-level pinewood pad, bites all the way to the Civil War. As proposed highways break down through the stacked strata of centuries.

It fascinated me how depression and anxiety overlap with post-traumatic stress disorder. Had we been through some trauma we didn't know about? Was the noise and speed of modern life the trauma for our caveman brains? Was I that soft? Or was life a kind of war most people didn't see?

The seat of the soul is where the inner world and the outer world meet. Where they overlap, it is in every point of the overlap.

One can only know what occurs within the mind, which is the instrument or tool of conscious experience.   There is no such thing as "out there".   There is only our perception as inbound data. Everything is registered, just as it is. It is only via the mind that a selective representation of the data is created.   Thoughts are objects in the mind as things are objects in the world. The mind and the world are two separate dimensions, overlapping during the waking state. When you can so readily create a world when you dream, why do you believe the impossibility of your creating another world when you are awake?

Loss of someone we love cannot be adequately expressed with words. Grappling with loss, struggling with disconnection and despair, fills us with a sense of anguish and actual pain. Indeed, the parts of our brain that process physical pain overlap with the neural centers that record social ruptures and rejection. Loss rips us apart.

There are never really endings, happy or otherwise. Things keep going on, they overlap and blur.

[…]Frisbee people won’t let it go. My theory is that this is because there’s a huge overlap between people who are good at Frisbee and people who do Teach for America.

People don’t exist in just the light or the dark. They exist in the contrast. In the shadows where the two overlap.

As is well-known, when the moon hours lengthen, human beings come adrift from the regularity of their mechanical clocks. They nod at noon, dream in waking hours, open their eyes wide to the pitch-black night. It is a time of magic. And as the borders between night and day stretch to their thinnest, so too do the borders between worlds. Dreams and stories merge with lived experience, the dead and the living brush against each other in their comings and goings, and the past and the present touch and overlap. Unexpected things can happen.

The voice boomed from the Throne. "One more goodbye." Together, Luce and Daniel turned to acknowledge the Throne, but the second their eyes fell upon it, the stately figure of the woman blazed into white-hot glory, and they had to shield their eyes. The Throne was indiscernible again, a gathering of light too brilliant to be gazed upon by angels. "Hey, guys." Arriane sniffed. "I think she meant for you two to say goodbye to each other." "Oh," Luce said, turning to Daniel, suddenly panicked. "Right now? We have to-" He took her hand. His wings brushed hers. He kissed the centers of her cheeks. "I'm afraid," she whispered. "What did I tell you?" She sifted through the million exchanges she and Daniel had ever shared-the good, the sad, the ugly. One rose above the clouds of her mind. She was shaking. "That you will always find me." "Yes. Always. No matter what." "Daniel-" "I can't wait to make you the love of my mortal life." "But you won't know me. You won't remember. Everything will be different." He wiped away her tear with his thumb. "And you think that will stop me?" She closed her eyes. "I love you too much to say goodbye." "It isn't goodbye." He gave her one last angelic kiss and embraced her so tightly she could hear his steady heartbeat, overlapping her own. "It's until we meet again.

The history of the world? Just voices echoing in the dark; images that burn for a few centuries and then fade; stories, old stories that sometimes seem to overlap; strange links, impertinent connections. We lie here in our hospital bed of the present (what nice clean sheets we get nowadays) with a bubble of daily news drip-fed into our arm. We think we know who we are, though we don't quite know why we're here, or how long we shall be forced to stay. And while we fret and write in bandaged uncertainty - are we a voluntary patient? - we fabulate. We make up a story to cover the facts we don't know or can't accept; we keep a few true facts and spin a new story round them. Our panic and our pain are only eased by soothing fabulation; we call it history.

He's wrong--high school isn't a pyramid with all the power clustered in a chosen few at the top--it's more of a movie theater with twenty-two screens showing simultaneously. The love story in theater three doesn't care what happens on the football field in theater twelve. Actors and audiences overlap on the screen in the hallways, but there's a place for everyone.

Ig had not been inside for years, but it was much as he remembered it. The foundry lay open to the sky, brick arches and pillars rising away into the slanting reddish light. Thirty years of overlapping graffiti covered the walls. The individual messages were mostly incoherent, but then perhaps the individual messages were of no importance. It seemed to Ig that all such messages were the same at heart: I Am; I Was; I Want To Be.

I arrive now at the ineffable core of my story. And here begins my despair as a writer. All language is a set of symbols whose use among its speakers assumes a shared past. How, then, can I translate into words the limitless Aleph, which my floundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols: to signify the godhead, one Persian speaks of a bird that somehow is all birds; Alanus de Insulis, of a sphere whose center is everywhere and circumference is nowhere; Ezekiel, of a four-faced angel who at one and the same time moves east and west, north and south. (Not in vain do I recall these inconceivable analogies; they bear some relation to the Aleph.) Perhaps the gods might grant me a similar metaphor, but then this account would become contaminated by literature, by fiction. Really, what I want to do is impossible, for any listing of an endless series is doomed to be infinitesimal. In that single gigantic instant I saw millions of acts both delightful and awful; not one of them occupied the same point in space, without overlapping or transparency. What my eyes beheld was simultaneous, but what I shall now write down will be successive, because language is successive. Nonetheless, I'll try to recollect what I can.

The interplay of the aesthetic with the erotic is complex. The peacock's tail is beautiful to us, sexy to the peahen. Beauty and sexual attractiveness overlap, coincide. They may be deeply related. I think they should not be confused.

Complex PTSD consists of of six symptom clusters, which also have been described in terms of dissociation of personality. Of course, people who receive this diagnosis often also suffer from other problems as well, and as noted earlier, diagnostic categories may overlap significantly. The symptom clusters are as follows: Alterations in Regulation of Affect ( Emotion ) and Impulses Changes in Relationship with others Somatic Symptoms Changes in Meaning Changes in the perception of Self Changes in Attention and Consciousness

First, we are born in the same galaxy. Born of the same spe­cies. Our life­times over­lap. The meet­ings between humans are so unlikely as to be mira­cu­lous. To laugh, to cry, and to fall in love. Every­one is made up of a col­lec­tion of 1% chances. Thus, I am dazzled by the fact that there are so many mir­acles in this world.

That's one of the things that "queer" can refer to: the open mesh of possibilities, gaps, overlaps, dissonances and resonances, lapses and excesses of meaning when the constituent elements of anyone's gender, of anyone's sexuality aren't made (or can't be made) to signify monolithically. The experimental linguistic, epistemological, representational, political adventures attaching to the very many of us who may at times be moved to describe ourselves as (among many other possibilities) pushy femmes, radical faeries, fantasists, drags, clones, leatherfolk, ladies in tuxedos, feminist women or feminist men, masturbators, bulldaggers, divas, Snap! queens, butch bottoms, storytellers, transsexuals, aunties, wannabes, lesbian-identified men or lesbians who sleep with men, or ... people able to relish, learn from, or identify with such.

You understand quite completely that the main lesson of history is: humans don’t learn from history. The twenty-first century could still turn out to be a bad cover version of the twentieth, but what could we do? People’s minds across the world were filling with utopias that could never overlap. It was a recipe for disaster, but, alas, a familiar one. Empathy was waning, as it often had. Peace was made of porcelain, as it always was.

Brains are like representative democracies. They are built of multiple, overlapping experts who weigh in and compete over different choices. As Walt Whitman correctly surmised, we are large and we harbor multitudes within us. And those multitudes are locked in chronic battle. There is an ongoing conversation among the different factions in your brain, each competing to control the single output channel of your behavior. As a result, you can accomplish the strange feats of arguing with yourself, cursing at yourself, and cajoling yourself to do something – feats that modern computers simply do not do.

Many people, observing religious conflict in the contemporary world, have become hostile to religion as such and regard it as a source of violence and intolerance.5 In a world of overlapping and plural religious environments, this can clearly be the case. But they fail to put religion in its broader historical context, where it was a critical factor in permitting broad social cooperation that transcended kin and friends as a source of social relationships. Moreover, secular ideologies like Marxism-Leninism or nationalism that have displaced religious beliefs in many contemporary societies can be and have been no less destructive due to the passionate beliefs that they engender.

In Donald Trump, we have a frightening Venn diagram consisting of three circles: the first is extreme present hedonism; the second, narcissism; and the third, bullying behavior. These three circles overlap in the middle to create an impulsive, immature, incompetent person who, when in the position of ultimate power, easily slides into the role of tyrant, complete with family members sitting at his proverbial “ruling table.” Like a fledgling dictator, he plants psychological seeds of treachery in sections of our population that reinforce already negative attitudes.

Every age, every culture, every custom and tradition has its own character, its own weakness and its own strength, its beauties and ugliness; accepts certain sufferings as matters of course, puts up patiently with certain evils. Human life is reduced to real suffering, real hell, only when two ages, two cultures and religions overlap. A man of the Classical Age who had to live in medieval times would suffocate miserably just as a savage does in the midst of our civilization. Now there are times when a whole generation is caught in this way between two ages, two modes of life, with the consequence that it loses all power to understand itself and has no standard, no security, no simple acquiescence. Naturally, everyone does not feel this equally strongly. A nature such as Nietzsche’s had to suffer our present ills more than a generation in advance. What he had to go through alone and misunderstood, thousands suffer today.

When you are in your twenties, even if you're confused and uncertain about your aims and purposes, you have a strong sense of what life itself is, and of what you in life are, and might become. Later...later there is more uncertainty, more overlapping, more backtracking, more false memories. Back then, you can remember your short life in its entirety. Later, the memory becomes a thing of shreds and patches. It's a bit like the black box aeroplanes carry to record what happens in a crash. If nothing goes wrong, the tape erases itself. So if you do crash, it's obvious why you did; if you don't, then the log of your journey is much less clear.

Man African societies divide humans into 3 categories: those still alive on the earth, the sasha, and the zamani. The recently departed whose time on earth overlapped with people still here are the sasha, the living-dead. They are not wholly dead, for they still live in the memories of the living, who can call them to mind, create their likeness in art, and bring them to life in anecdote. When the last person to know an ancestor dies, that ancestor leaves the sasha for the zamani, the dead. As generalized ancestors, the zamani are not forgotten but revered. Many...can be recalled by name. But they are not living-dead. There is a difference.

It is one thing to be a man's wife - quite another to be the mother of his children. In fact, once you become a mother, being a wife seems like a game you once played or a self-help book you were overly impressed with as a teenager that on second reading is puffy with common ideas. This was one of the many things I had learned since crossing over into the middle place - that sliver of time when childhood and parenthood overlap.

Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

Every father knows the disconcerting when you see your child as a weird, distorted double of yourself. It is as if for a moment your identities overlap. You see an idea, a conception of your boyish inner self...made real and flesh. He is you restarted, rewound; at the same time he is as foreign and unknowable as any other person.

More than anyone I’d ever met, he seemed to participate in life as if it were art, and to practice a studied, careful carefreeness. His sense of what is worthy seemed to overlap very little with any conventional sense of what is useful, and if there were one precept that could be said to govern his life, it is that one’s highest calling is to engage in enriching escapades at every turn.

Pleasure and pain are co-located. In addition to the discovery of dopamine, neuro-scientists have determined that pleasure and pain are processed in overlapping brain regions, and work via an opponent processing mechanism. Another way to say this is pleasure and pain work like a balance. Imagine our brains contains a balance, a scale with a fulcrum in the centre. When nothing is on the balance it's level with the ground. When we experience pleasure, dopamine is released in our reward pathway and the balance tips to the side of pleasure. The more our balance tips and the faster it tips, the more pleasure we feel. But here's the important thing about the balance. It wants to remain level! that is, in equilibrium. It does not want to be tipped for very long, to one side or another. Hence, everytime the balance tips towards pleasure, powerful self-regulating mechanisms kick into action to bring it level again. These self-regulating mechanisms do not require conscious thought or an act of will, they just happen like a reflex.

My life after childhood has two main stories: the story of the hustler and the story of the rapper, and the two overlap as much as they diverge. I was on the streets for more than half of my life from the time I was thirteen years old. People sometimes say that now I'm so far away from that life - now that I've got businesses and Grammys and magazine covers - that I have no right to rap about it. But how distant is the story of your own life ever going to be? The feelings I had during that part of my life were burned into me like a brand. It was life during wartime.

Imagine that you're an intelligent extraterrestrial, concerned only with verifiable truths. You discover a species that has divided itself into thousands - no, by now millions - of tribal groups holding an incredible variety of beliefs about the origin of the universe and the way to behave in it. Although many of them have ideas in common, even when there's 99% overlap, the remaining one percent's enough to set them killing and torturing each other, over trivial points of doctrine, utterly meaningless to outsiders. "How to account for such irrational behavior? (...) religion was the by-product of fear - a reaction to a mysterious and often hostile universe. For much of human prehistory, it may have been a necessary evil - but why was it so much more evil than necessary - and why did it survive when it was no longer necessary?

It's possible to find order in chaos, and it's equally possible to find chaos underlying apparent order. Order and chaos are slippery concepts. They're like a set of twins who like to swap clothing from time to time. Order and chaos frequently intermingle and overlap, the same as beginnings and endings. Things are often more complicated, or more simple, than they seem. Often it depends on your angle. I think that telling a story is a way of trying to make life's complexity more comprehensible. It's a way of trying to separate order from chaos, patterns from pandemonium.

I think of Krishna and his deep blue eyes. It is said, in the hidden scriptures in India, that to focus on the eyes of the Lord is the highest spiritual practice a human being can proform. It's suppose to be equal to the greatest act of charity, which Jesus describes in the Bible as sacrificing one's life to save the life of another. The Vedas, the Bible, it's true, they overlap a lot. Maybe gazing into Krishna's eyes... Pain...Pain...Pain... Is equal to Christ's sacrifice. I'm only suffering this pain to protect John. It doesn't matter that he won't see me. I still love him, I will always love him. And in this exquisitely agonizing moment, I realize he refused to see me because he wanted to force me to see him inside. Ah, that's the key! This practice of visualizing that I'm staring into Krishna's blue eyes, I've done it before. But this is the first time I see him staring back at me! The Agony comes, and it does not get transformed into bliss. If anything it is worse than before. Except for one thing. The pain does not obliterate my sense of "I." I'm still Sita, the last vampire.

I suppose in reality not a leaf goes yellow in autumn without ceasing to care about its sap and making the parent tree very uncomfortable by long growling and grumbling - but surely nature might find some less irritating way of carrying on business if she would give her mind to it. Why should the generations overlap one another at all? Why cannot we be buried as eggs in neat little cells with ten or twenty thousand pounds each wrapped round us in Bank of England notes, and wake up, as the sphex wasp does, to find that its papa and mamma have not only left ample provision at its elbow, but have been eaten by sparrows some weeks before it began to live consciously on its own account?

Every addiction story wants a villain. But America has never been able to decide whether addicts are victims or criminals, whether addiction is an illness or a crime. So we relieve the pressure of cognitive dissonance with various provisions of psychic labor - some addicts got pitied, others get blamed - that keep overlapping and evolving to suit our purposes: Alcoholics are tortured geniuses. Drug addicts are deviant zombies. Male drunks are thrilling. Female drunks are bad moms. White addicts get their suffering witnessed. Addicts of color get punished. Celebrity addicts get posh rehab with equine therapy. Poor addicts get hard time. Someone carrying crack gets five years in prison, while someone driving drunk gets a night in jail, even though drunk driving kills more people every year than cocaine. In her seminal account of mass incarceration, The New Jim Crow, legal scholar Michelle Alexander points out that many of these biases tell a much larger story about 'who is viewed as disposable - someone to be purged from the body politic - and who is not.' They aren't incidental discrepancies - between black and white addicts, drinkers and drug users - but casualties of our need to vilify some people under the guise of protecting others.

I’d ruin any day, all my days, for those long nights with you, and I did. But that’s why right there it was doomed. We couldn’t only have the magic nights buzzing through the wires. We had to have the days, too, the bright impatient days spoiling everything with their unavoidable schedules, their mandatory times that don’t overlap, their loyal friends who don’t get along, the unforgiven travesties torn from the wall no matter what promises are uttered past midnight, and that's why we broke up.

In the office in which I work there are five people of whom I am afraid. Each of these five people is afraid of four people (excluding overlaps), for a total of twenty, and each of these twenty people is afraid of six people, making a total of one hundred and twenty people who are feared by at least one person. Each of these one hundred and twenty people is afraid of the other one hundred and nineteen, and all of these one hundred and forty-five people are afraid of the twelve men at the top who helped found and build the company and now own and direct it.

Things go backward. And then, one day, whatever it is we had, it’s gone. It won’t come back. We both know it. Whatever it is she let me have, she has taken it away. Whatever it is when two people agree to briefly occupy the same space, agree to allow their lives to overlap in some small area, some temporary region of the world, a region they create through love or convenience, or for us, something even more meager, whatever that was, it has collapsed, it has closed. She has closed herself to me.

When you are in your twenties, even if you're confused and uncertain about your aims and purposes, you have a strong sense of what life itself is, and of what you in life are, and might become. Later ... later there is more uncertainty, more overlapping, more back-tracking, more false memories. Back then, you can remember your short life in its entirety. Later, the memory becomes a thing of shreds and patches. It's a bit like the black box aeroplanes carry to record what happens in a crash. So if you do crash, it's obvious why you did; if you don't, the the log of your journey is much less clear. Or, to put it another way. Someone once said that his favourite times in history were when things were collapsing, because that means something new is being born. Does this makes any sense if we apply it to our individual lives? Even if that something new is our very own self? Because just as all political and historical change sooner or later disappoints, so does adulthood. So does life. Sometimes I think the purpose of life is to reconcile us to its eventual loss by wearing us down, by proving, however long it takes, that life isn't all it's cracked up to be.

I would dearly love to read the reactions, the observations of each and every person who walks through the gates of Le Cirque des Reves, to know what they see and hear and feel. To see how their experience overlaps with my own and how it differs. I have been fortunate letters with such information, to have reveurs share with me writings from journals or thoughts scribbled on scraps of paper. We add our own stories, each visitor, each visit each night spent at the circus. I suppose there will never be a lack of things to say, of stories to be told and shared. -Friedrick Thiessen, 1895

Shirt off.” Neil stared at her. “Why?” “I can’t check track marks through cotton, Neil.” “I don’t do drugs.” “Good on you,” Abby said. “Keep it that way. Now take it off.” […] “I want to make this as painless as possible, but I can’t help you if you can’t help me. Tell me why you won’t take off your shirt.” Neil looked for a delicate way to say it. The best he managed was, “I’m not okay.” She put a finger to his chin and turned his face back toward her. “Neil, I work for the Foxes. None of you are okay. Chances are I’ve seen a lot worse than whatever it is you’re trying to hide from me.” Neil’s smile was humorless. “I hope not. “Trust me,” Abby said. “I’m not going to judge you. I’m here to help, remember? I’m your nurse now. That door is closed, and it comes with a lock. What happens in here stays in here.” […] “You can’t ask me about them,” he said at last. “I won’t talk to you about it. Okay?” “Okay,” Abby agreed easily. “But know that when you want to, I’m here, and so is Betsy.” Neil wasn’t going to tell that psychiatrist a thing, but he nodded. Abby dropped her hand and Neil pulled his shirt over his head before he could lose his nerve. Abby thought she was ready. Neil knew she wouldn’t be, and he was right. Her mouth parted on a silent breath and her expression went blank. She wasn’t fast enough to hide her flinch, and Neil saw her shoulders go rigid with tension. He stared at her face as she stared at him, watching her gaze sweep over the brutal marks of a hideous childhood. It started at the base of his throat, a looping scar curving down over his collarbone. A pucker with jagged edges was a finger-width away, courtesy of a bullet that hit him right on the edge of his Kevlar vest. A shapeless patch of pale skin from his left shoulder to his navel marked where he’d jumped out of a moving car and torn himself raw on the asphalt. Faded scars crisscrossed here and there from his life on the run, either from stupid accidents, desperate escapes, or conflicts with local lowlifes. Along his abdomen were larger overlapping lines from confrontations with his father’s people while on the run. His father wasn’t called the butcher for nothing; his weapon of choice was a cleaver. All of his men were well-versed in knife-fighting, and more than one of them had tried to stick Neil like a pig. And there on his right shoulder was the perfect outline of half a hot iron. Neil didn’t remember what he’s said or done to irritate his father so much.

The secular world is the world of history as made by human beings. Human agency is subject to investigation and analysis, which it is the mission of understanding to apprehend, criticize, influence, and judge. Above all, critical thought does not submit to state power or to commands to join in the ranks marching against one or another approved enemy. Rather than the manufactured clash of civilizations, we need to concentrate on the slow working together of cultures that overlap, borrow from each other, and live together in far more interesting ways than any abridged or inauthentic mode of understanding can allow. But for that kind of wider perception we need time and patient and skeptical inquiry, supported by faith in communities of interpretation that are difficult to sustain in a world demanding instant action and reaction.

...It was everything, those nights on the phone, everything we said until late became later & then later & very late & finally to go to bed with my ear warm & worn & red from holding the phone close, close, close so as not to miss a word of what it was, because who cared how tired I was in the humdrum slave drive of our days without each other? I'd ruin any day, all my days, for those long nights with you & I did. But that's why right there it was doomed. We couldn't only have the magic nights buzzing through the wires. We had to have the days, too, the bright impatient days spoiling everything with their unavoidable schedules, their mandatory times that don't overlap, their loyal friends who don't get along, the unforgiven travesties torn from the wall no matter what promises are uttered past midnight & that's why we broke up.

I've never understood America,"said the king. "Neither do we, sir. You might say we have two governments, kind of overlapping. First we have the elected government. It's Democratic or Republican, doesn't make much difference, and then there's corporation government." "They get along together, these governments?" "Sometimes," said Tod. "I don't understand it myself. You see, the elected government pretends to be democratic, and actually it is autocratic. The corporation governments pretend to be autocratic and they're all the time accusing the others of socialism. They hate socialism." "So I have heard," said Pippin. "Well, here's the funny thing, sir. You take a big corporation in America, say like General Motors or Du Pont or U.S. Steel. The thing they're most afraid of is socialism, and at the same time they themselves are socialist states." The king sat bolt upright. "Please?" he said. "Well, just look at it, sir. They've got medical care for employees and their families and accident insurance and retirement pensions, paid vacations -- even vacation places -- and they're beginning to get guaranteed pay over the year. The employees have representation in pretty nearly everything, even the color they paint the factories. As a matter of fact, they've got socialism that makes the USSR look silly. Our corporations make the U.S. Government seem like an absolute monarchy. Why, if the U.S. government tried to do one-tenth of what General Motors does, General Motors would go into armed revolt. It's what you might call a paradox sir.

Nor are introverts necessarily shy. Shyness is the fear of social disapproval or humiliation, while introversion is a preference for environments that are not overstimulating. Shyness is inherently painful; introversion is not. One reason that people confuse the two concepts is that they sometimes overlap (though psychologists debate to what degree). Some psychologists map the two tendencies on vertical and horizontal axes, with the introvert-extrovert spectrum on the horizontal axis, and the anxious-stable spectrum on the vertical. With this model, you end up with four quadrants of personality types: calm extroverts, anxious (or impulsive) extroverts, calm introverts, and anxious introverts. In other words, you can be a shy extrovert, like Barbra Streisand, who has a larger-than-life personality and paralyzing stage fright; or a non-shy introvert, like Bill Gates, who by all accounts keeps to himself but is unfazed by the opinions of others.

The horrors of the Middle Ages were really nonexistent. A man of the Middle Ages would detest the whole mode of our present-day life as something far more than horrible, far more than barbarous. Every age, every culture, every custom and tradition has its own character, its own weakness and its own strength, its beauties and ugliness; accepts certain sufferings as matters of course, puts up patiently with certain evils. Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap. A man of the Classical Age who had to live in medieval times would suffocate miserably just as a savage does in the midst of our civilization. Now there are times when a whole generation is caught in this way between two ages, two modes of life, with the consequence that it loses all power to understand itself and has no standard, no security, no simple acquiescence. Naturally, every one does not feel this equally strongly. A nature such as Nietzsche's had to suffer our present ills more than a generation in advance. What he had to go through alone and misunderstood, thousands suffer today.

Many survivors of relational and other forms of early life trauma are deeply troubled and often struggle with feelings of anger, grief, alienation, distrust, confusion, low self-esteem, loneliness, shame, and self-loathing. They seem to be prisoners of their emotions, alternating between being flooded by intense emotional and physiological distress related to the trauma or its consequences and being detached and unable to express or feel any emotion at all - alternations that are the signature posttraumatic pattern. These occur alongside or in conjunction with other common reactions and symptoms (e.g., depression, anxiety, and low self-esteem) and their secondary manifestations. Those with complex trauma histories often have diffuse identity issues and feel like outsiders, different from other people, whom they somehow can't seem to get along with, fit in with, or get close to, even when they try. Moreover, they often feel a sense of personal contamination and that no one understands or can help them. Quite frequently and unfortunately, both they and other people (including the professionals they turn to for help) do misunderstand them, devalue their strengths, or view their survival adaptations through a lens of pathology (e.g., seeing them as "demanding", "overdependent and needy", "aggressive", or as having borderline personality). Yet, despite all, many individuals with these histories display a remarkable capacity for resilience, a sense of morality and empathy for others, spirituality, and perseverance that are highly admirable under the circumstances and that create a strong capacity for survival. Three broad categories of survivorship, with much overlap between them, can be discerned: 1. Those who have successfully overcome their past and whose lives are healthy and satisfying. Often, individuals in this group have had reparative experiences within relationships that helped them to cope successfully. 2. Those whose lives are interrupted by recurring posttraumatic reactions (often in response to life events and experiences) that periodically hijack them and their functioning for various periods of time. 3. Those whose lives are impaired on an ongoing basis and who live in a condition of posttraumatic decline, even to the point of death, due to compromised medical and mental health status or as victims of suicide of community violence, including homicide.