Paper Moon Quotes

When hope is fleeting, stop for a moment and visualize, in a sky of silver, the crescent of a lavender moon. Imagine it -- delicate, slim, precise, like a paper-thin slice from a cabochon jewel. It may not be very useful, but it is beautiful. And sometimes it is enough.

If I had lady-spider legs, I would weave a sky where the stars lined up. Matresses would be tied down tight to their trucks, bodies would never crash through windshields. The moon would rise above the wine-dark sea and give babies only to maidens and musicians who had prayed long and hard. Lost girls wouldn't need compasses or maps. They would find gingerbread paths to lead them out of the forest and home again. They would never sleep in silver boxes with white velvet sheets, not until they were wrinkled-paper grandmas and ready for the trip.

This is no honky-tonk parade. 1Q84 is the real world, where a cut draws real blood, where pain is real pain and fear is real fear. The moon in the sky is no paper moon.

Sun, moon, and stars, I told him. He inclined his head. Of all the years, this one with you has been my finest. Fire to my ice, Mac. Frost to my flame, Jericho. Forever, we said, and it was a vow far more powerful and binding than any ring or piece of paper.

I write to find strength. I write to become the person that hides inside me. I write to light the way through the darkness for others. I write to be seen and heard. I write to be near those I love. I write by accident, promptings, purposefully and anywhere there is paper. I write because my heart speaks a different language that someone needs to hear. I write past the embarrassment of exposure. I write because hypocrisy doesn’t need answers, rather it needs questions to heal. I write myself out of nightmares. I write because I am nostalgic, romantic and demand happy endings. I write to remember. I write knowing conversations don’t always take place. I write because speaking can’t be reread. I write to sooth a mind that races. I write because you can play on the page like a child left alone in the sand. I write because my emotions belong to the moon; high tide, low tide. I write knowing I will fall on my words, but no one will say it was for very long. I write because I want to paint the world the way I see love should be. I write to provide a legacy. I write to make sense out of senselessness. I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding. I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers. I write because one day someone will tell me that my emotions were not a waste of time. I write because God loves stories. I write because one day I will be gone, but what I believed and felt will live on.

Out of sight above the house, the mirror moon reflected the sun of a day not yet dawned, shining the pale light of tomorrow on the yard and on the paper birches.

With dark raven paper and twinkling white ink, I wrote my heart in the night’s sky.

When I read that the flash came, and I took a sheet of paper. . .and I wrote on it: I, Emily Byrd Starr, do solemnly vow this day that I will climb the Alpine Path and write my name on the scroll of fame.

Moon In the Window I wish I could say I was the kind of child who watched the moon from her window, would turn toward it and wonder. I never wondered. I read. Dark signs that crawled toward the edge of the page. It took me years to grow a heart from paper and glue. All I had was a flashlight, bright as the moon, a white hole blazing beneath the sheets.

I was so happy I wanted to fold all the people into paper airplanes and fly them into the lidless eye of that big yellow moon.

Stationary" The moon did not become the sun. It just fell on the desert in great sheets, reams of silver handmade by you. The night is your cottage industry now, the day is your brisk emporium. The world is full of paper. Write to me.

The moon people do not eat by swallowing food but by smelling it. Their money is poetry - actual poems, written out on pieces of paper whose value is determined by the worth of the poem itself.

My head a moon Of Japanese paper, my gold beaten skin Infinitely delicate and infinitely expensive.

… I am the sound of rain on the roof. I also happen to be the shooting star, the evening paper blowing down an alley, and the basket of chestnuts on the kitchen table. I am also the moon in the trees and the blind woman's tea cup. But don't worry, I am not the bread and the knife. You are still the bread and the knife. You will always be the bread and the knife, not to mention the crystal goblet and—somehow—the wine.

We've done so much together, wherever I go and whatever I see, I think of you. Newborn babies; the pattern on the plate that you can see under a paper-thin slice of sashimi; fireworks in August. The moon hidden behind the clouds over the ocean at night. When I'm sitting down someplace, inadvertently stepping on someone's toes, and have to apologize. And when someone picks up something I've dropped, and I thank him. When I see an elderly man tottering along,and wonder how much longer he has to live. Dogs and cats peeking out from alleyways. A beautiful view from a tall building. The warm blast of air you feel when you go down into a subway station. The phone ringing in the middle of the night. Even when I have crushes on other men, I always see you in the curve of their eyebrows." "Yet I must remain calm, detached. It's a little like trying to ignore a plate of delicious food when you're really hungry. When it beckons you, there's no problem with enjoying the aroma and appreciating it with your eyes, but at some point you have to separate yourself and realize, like a professional waiter does, that it's not your own. It's my job to ignore those plates heaped with delicious morsels and just carry them where they need to go.

it took Coyote a very long time indeed to show up, or that he looked distracted when he did. How a dog could look distracted, I didn’t know, but there you had it. “I’m not,” he said for the umpteenth time, “a dog.

Then you get the wrong answer and you can't go to the Moon that way! Nature isn't a person, you can't trick them into believing something else, if you try to tell the Moon it's made of cheese you can argue for days and it won't change the Moon! What you're talking about is rationalization, like starting with a sheet of paper, moving straight down to the bottom line, using ink to write 'and therefore, the Moon is made of cheese', and then moving back up to write all sorts of clever arguments above. But either the Moon is made of cheese or it isn't. The moment you wrote the bottom line, it was already true or already false. Whether or not the whole sheet of paper ends up with the right conclusion or the wrong conclusion is fixed the instant you write down the bottom line.

A tall blonde entered the room, wearing a yellow sash that marked her as advocate. Two men followed her, carrying papers. She was lean and long-legged, with a graceful neck and nice ankles, and William took a minute to watch her come down the aisle. She looked high-strung and difficult. Still, good legs. Mmm, smelled of mimosa, too. Expensive scent. Cerise smelled better, when clean.

...their kiss was like a paper airplane landing on the moon.

He can’t keep this up forever, Joanne. Stop fucking around." Did other people have little voices in their heads that said things like that?

I swear on Annie’s grave,” Gary repeated to Mel, “this ain’t my fault. They were like this when I picked ’em up at the station.

Every time I see the moon, I shall send you a blessing, knowing the same moon will soon shine my blessing down upon you.

In a society that is essentially designed to organize, direct, and gratify mass impulses, what is there to minister to the silent zones of man as an individual? Religion? Art? Nature? No, the church has turned religion into standardized public spectacle, and the museum has done the same for art. The Grand Canyon and Niagara Falls have been looked at so much that they've become effete, sucked empty by too many stupid eyes. What is there to minister to the silent zones of man as an individual? How about a cold chicken bone on a paper plate at midnight, how about a lurid lipstick lengthening or shortening at your command, how about a Styrofoam nest abandoned by a 'bird' you've never known, how about a pair of windshield wipers pursuing one another futilely while you drive home alone through a downpour, how about something beneath a seat touched by your shoe at the movies, how about worn pencils, cute forks, fat little radios, boxes of bow ties, and bubbles on the side of a bathtub? Yes, these are the things, these kite strings and olive oil cans and Valentine hearts stuffed with nougat, that form the bond between the autistic vision and the experiential world, it is to show these things in their true mysterious light that is the purpose of the moon.

No free man needs a God; but was I free? How fully I felt nature glued to me And how my childish palate loved the taste Half-fish, half-honey, of that golden paste! My picture book was at an early age The painted parchment papering our cage: Mauve rings around the moon; blood-orange sun; Twinned Iris; and that rare phenomenon The iridule - when, beautiful and strange, In a bright sky above a mountain range One opal cloudlet in an oval form Reflects the rainbow of a thunderstorm Which in a distant valley has been staged - For we are most artistically caged.

The moon was now paper-thin and fading. That moon was sky-tinged, the way you could see right through it to the blue of the evening light, and it was hung like a damp tissue as though pressed against glass.

Do you remember the story I told you about the paper of happiness? And the secret, which was one word written over and over again? … I have thought a long time about what that word could have been,” Ba said. “Was it wisdom or honor? Love or truth? For a long time I liked to think that the word was kindness.” Ma’s face remained hidden in Minli’s bed, but her sobs had stopped and Ba knew she was listening. “But now,” Ba said, “I think, perhaps, the word was faith.

Provided with a case of pencils, and some sheets of paper, I used to take a seat apart from them, near the window, and busy myself in sketching fancy vignettes representing any scene that happened momentarily to shape itself in the ever-shifting kaleidoscope of imagination: a glimpse of sea between two rock; the rising moon, and a ship crossing its disc; a group of reeds and water-flags, and a naiad's head, crowned with lotus-flowers, rising out of them; an elf sitting in a hedge-sparrow's nest, under a wreath of hawthorn bloom.

in my dreams i know what to do with my hands. i do not lock them up in a cardboard box. i do not lock myself up in a paper house too ready to catch on fire.

This magic does not work with anger.

Do no evil.

There are poetries inside of you the paper cannot handle

The King is Zhokka, swallowing everything. And Wren is Ahla - the moon, the light, the only one who knows how to bring the stars back to my sky.

It’s so easy, the madwoman wanted to tell them. Just go mad. Madness and magic are linked, after all. Or I think they are. Every day the world shuffles and bends. Every day I find something shiny in the rubble. Shiny paper. Shiny truth. Shiny magic. Shiny, shiny, shiny.

Liberty On my notebooks from school On my desk and the trees On the sand, on the snow I write your name On every page read On all the white sheets Stone blood paper or ash I write your name On the golden images On the soldier’s weapons On the crowns of kings I write your name On the jungle, the desert The nests and the bushes On the echo of childhood I write your name On the wonder of nights On the white bread of days On the seasons engaged I write your name On all my blue rags On the pond mildewed sun On the lake living moon I write your name On the fields, the horizon The wings of the birds On the windmill of shadows I write your name On the foam of the clouds On the sweat of the storm On dark insipid rain I write your name On the glittering forms On the bells of colour On physical truth I write your name On the wakened paths On the opened ways On the scattered places I write your name On the lamp that gives light On the lamp that is drowned On my house reunited I write your name On the bisected fruit Of my mirror and room On my bed’s empty shell I write your name On my dog greedy tender On his listening ears On his awkward paws I write your name On the sill of my door On familiar things On the fire’s sacred stream I write your name On all flesh that’s in tune On the brows of my friends On each hand that extends I write your name On the glass of surprises On lips that attend High over the silence I write your name On my ravaged refuges On my fallen lighthouses On the walls of my boredom I write your name On passionless absence On naked solitude On the marches of death I write your name On health that’s regained On danger that’s past On hope without memories I write your name By the power of the word I regain my life I was born to know you And to name you LIBERTY

See this page of paper? It’s blank,” Scull said. “That, sir, is the most frightening battlefield in the world: the blank page. I mean to fill this paper with decent sentences, sir—this page and hundreds like it. Let me tell you, Colonel, it’s harder than fighting Lee. Why, it’s harder than fighting Napoleon. It requires unremitting attention,

Long after all the chocolates were eaten, and the cousins had gone, we kept the chocolate-box in the linen-drawer in the dining-room sideboard, waiting for some ceremonial use that never presented itself. It was still full of the empty chocolate cups of dark, fluted paper. In the wintertime I would sometimes go into the cold dining room and sniff at the cups, inhaling their smell of artifice and luxury; I would read again the descriptions on the map provided on the inside of the box-top: hazelnut, creamy nougat, Turkish delight, golden toffee, peppermint cream.

The lamp hummed: 'Regard the moon, La lune ne garde aucune rancune, She winks a feeble eye, She smiles into corners. She smoothes the hair of the grass. The moon has lost her memory. A washed-out smallpox cracks her face, Her hand twists a paper rose, That smells of dust and old Cologne, She is alone With all the old nocturnal smells That cross and cross across her brain." The reminiscence comes Of sunless dry geraniums And dust in crevices, Smells of chestnuts in the streets, And female smells in shuttered rooms, And cigarettes in corridors And cocktail smells in bars.

She hissed, right there behind my ear, and I had the horrible idea she was spitting maggots into my hair. Why maggots were a problem when I was about to be dead, I didn’t know, but the idea completely grossed me out. “In the womb I heard you die, for no one lives when a banshee cries.” I wasn’t just going to die. I was going to be rhymed to death. That simply wasn’t fair.

Remember your magic.

If she'd been a color, she would have been bright green. If she'd been a scent, she would have been new paper. She was happy and intelligent and afraid of nothing.

It isn't only political power that grows out of the barrel of a gun. So does a whole definition of reality. A set. And the action that has to happen on that particular set and on none other." "Don't be so bloody patronizing," I objected.... "That's just Marx: the ideology of the ruling class becomes the ideology of the whole society." "Not the ideology. The Reality." He lowered his handkerchief. "This was a public park until they changed the definition. Now, the guns have changed the Reality. It isn't a public park. There's more than one kind of magic." "Just like the Enclosure Acts," I said hollowly. "One day the land belonged to the people. The next day it belonged to the landlords." "And like the Narcotics Acts," he added. "A hundred thousand harmless junkies became criminals overnight, by Act of Congress, in nineteen twenty-seven. Ten years later, in thirty-seven, all the pot-heads in the country became criminals overnight, by Act of Congress. And they really were criminals, when the papers were signed. The guns prove it. Walk away from those guns, waving a joint, and refuse to halt when they tell you. Their Imagination will become your Reality in a second.

Not a red rose or a satin heart. I give you an onion. It is a moon wrapped in brown paper, It promises light Like the careful undressing of love. Here. It will blind you with tears Like a lover.

My darling, my child, my connoisseur of sesquipedalian words and convoluted ideas and meandering sentences and baroque images, while the sun is asleep and the moon somnambulant, while the stars bathe us in their glow from eons ago and light-years away, while you are comfortably nestled in your blankets and I am hunched over in my chair by your bed, while we are warm and safe and still for the moment in this bubble of incandescent light cast by the pearl held up by the mermaid lamp, you and I, on this planet spinning and hurtling through the frigid darkness of space at dozens of miles per second, let’s read.

Throughout the slow burning of the day, the silver-skinned boy kissed the air with the ghost of moon-soaked lips, images circling his head and under his jaw, and paint spilled onto paper. He said he was not an artist, but the boy he remembered told him once that the language of art is such a sacred dream. And he believed him.

Sighs, the rhythms of our heartbeats, contractions of childbirth, orgasms, all flow into time just as pendulum clocks placed next to one another soon beat in unison. Fireflies in a tree flash on and off as one. The sun comes up and it goes down. The moon waxes and wanes and usually the morning paper hits the porch at six thirty-five.

If your voice could overwhelm those waters, what would it say? What would it cry of the child swept under, the mother on the beach then, in her black bathing suit, walking straight out into the glazed lace as if she never noticed, what would it say of the father facing inland in his shoes and socks at the edge of the tide, what of the lost necklace glittering twisted in foam? If your voice could crack in the wind hold its breath still as the rocks what would it say to the daughter searching the tidelines for a bottled message from the sunken slaveships? what of the huge sun slowly defaulting into the clouds what of the picnic stored in the dunes at high tide, full of the moon, the basket with sandwiches, eggs, paper napkins, can-opener, the meal packed for a family feast, excavated now by scuttling ants, sandcrabs, dune-rats, because no one understood all picnics are eaten on the grave?

The dining-room was in the good taste of the period. It was very severe. There was a high dado of white wood and a green paper on which were etchings by Whistler in neat black frames. The green curtains with their peacock design, hung in straight lines, and the green carpet, in the pattern of which pale rabbits frolicked among leafy trees, suggested the influence of William Morris. There was blue delft on the chimneypiece. At that time there must have been five hundred dining-rooms in London decorated in exactly the same manner. It was chaste, artistic, and dull.

I snagged a golden paper crown from one of the bags, and idly joined it into a circle and put it on my head. Susan blinked at me and let out a brief laugh. 'I am' I intoned with an imperious narrowing of my eyes, 'the burger king.

Wren, in her sleeping robe, standing close to a tall wolf demon, her head craned back to face him. The wolf: Moon caste, marbled ash-gray fur flowing silkily over angular features, a diamond-shaped patch of white on his long, muzzlelike jaw. He’s dressed in soldier’s clothes. One pawed hand is lifted to cup Wren’s face, like the beginning of a kiss.

I‘m no good at loving people but… I will love you like the darkness loves the stars. I'm the goddess of the night. I will smear my ink over your skin, and leave paper cuts where the light can get in. I will break you then make you whole. You‘ll be the moon lighting up the sky. But I will never be done – we‘ll dance together until my darkness is gone.

...while the sun is asleep and the moon somnambulant, while the stars bathe us in their glow from eons ago and light-years away, while you are comfortably nestled in your blankets and I am hunched over in my chair by your bed, while we are warm and safe and still for the moment in this bubble of incandescent light cast by the pearl held up by the mermaid lamp, you and I, on this planet spinning and hurtling through the frigid darkness of space at dozens of miles per second, let's read.

Words, when they've been captured and imprisoned on paper, become a barrier against the world, one best left unerected. Everything that happens is fluid, changeable. After they've passed, events are only as your memory makes them, and they shift shapes over time. Writing a thing down fixes it in place as surely as a rattlesnake skin strippd from the meat and stretched and tacked to a barn wall. Every bit as stationary, and every bit as false to the original thing. Flat and still and harmless.

You don’t know me, Lei‑zhi,” he sneers. “You’re not as clever as you think. None of your kind are. No matter how hard you fight, it will be in vain. Paper can never triumph over Steel and Moon—you are too easily broken. You are weak, and we... I am strong. You will see. I will burn all your hopes and dreams to ashes, Lei‑zhi—along with everything you so proudly, foolishly love.

A lonely face aglow on high. You mean the moon. A flower, red, has caught his eye. A rose in bloom. He cannot touch her, though he tries. In darkness glints the tears he cries. I see mere stars; you boldly lie. Nay, poetry to draw your sigh. I am immune.

On the very tip of his tongue is his Firerancher. Thin as tissue paper, it looks like the moon in the daytime sky. Suddenly love is looming over the car, as big and invisible as the ghost mountains of the Comobabi range. I smile at him and turn up the radio with my toes.

It’s like we've been flung back in time," he said. "Here we are in the Stone Age, knowing all these great things after centuries of progress but what can we do to make life easier for the Stone Agers? Can we make a refrigerator? Can we even explain how it works? What is electricity? What is light? We experience these things every day of our lives but what good does it do if we find ourselves hurled back in time and we can’t even tell people the basic principles much less actually make something that would improve conditions. Name one thing you could make. Could you make a simple wooden match that you could strike on a rock to make a flame? We think we’re so great and modern. Moon landings, artificial hearts. But what if you were hurled into a time warp and came face to face with the ancient Greeks. The Greeks invented trigonometry. They did autopsies and dissections. What could you tell an ancient Greek that he couldn’t say, ‘Big Deal.’ Could you tell him about the atom? Atom is a Greek word. The Greeks knew that the major events in the universe can’t be seen by the eye of man. It’s waves, it’s rays, it’s particles." “We’re doing all right.” “We’re sitting in this huge moldy room. It’s like we’re flung back.” “We have heat, we have light.” “These are Stone Age things. They had heat and light. They had fire. They rubbed flints together and made sparks. Could you rub flints together? Would you know a flint if you saw one? If a Stone Ager asked you what a nucleotide is, could you tell him? How do we make carbon paper? What is glass? If you came awake tomorrow in the Middle Ages and there was an epidemic raging, what could you do to stop it, knowing what you know about the progress of medicines and diseases? Here it is practically the twenty-first century and you’ve read hundreds of books and magazines and seen a hundred TV shows about science and medicine. Could you tell those people one little crucial thing that might save a million and a half lives?” “‘Boil your water,’ I’d tell them.” “Sure. What about ‘Wash behind your ears.’ That’s about as good.” “I still think we’re doing fairly well. There was no warning. We have food, we have radios.” “What is a radio? What is the principle of a radio? Go ahead, explain. You’re sitting in the middle of this circle of people. They use pebble tools. They eat grubs. Explain a radio.” “There’s no mystery. Powerful transmitters send signals. They travel through the air, to be picked up by receivers.” “They travel through the air. What, like birds? Why not tell them magic? They travel through the air in magic waves. What is a nucleotide? You don’t know, do you? Yet these are the building blocks of life. What good is knowledge if it just floats in the air? It goes from computer to computer. It changes and grows every second of every day. But nobody actually knows anything.

dappled sunlight and looked at the silver vapor swirling inside. “Mist gathered at first light on the first day of the new moon on the Isle of Avalon,” he said. “Yep. Good for one hour of great talent,” said Annie. Jack smiled, remembering their hour as horse trainers and their hour as stage magicians. “I wonder what we’ll be great at this time,” he said. “Maybe great nurses?” said Annie. “We’ll see,” said Jack. He put the tiny bottle in his backpack; then he picked up the piece of paper from the floor. On the paper he had written the two secrets of greatness they’d

Billy, I can’t even pick my nose without using a finger.” Sometimes my mouth should stop and consult my brain before it says anything. Billy got this wide-eyed look of admiration that belonged on a nine-year-old boy. It said, Wow, that was really gross, and, more important, How come I didn’t think of it? My mouth consulted my brain this time, and I asked, “I don’t suppose you could just forget I said that?” “No,” Billy said, in a tone that matched the admiration still in his eyes. “I don’t think I can. I’m going to have to tell that one to Robert.” “Melinda will kill you.

Mr. Charles Dickens was serializing his novel Oliver Twist; Mr. Draper had just taken the first photograph of the moon, freezing her pale face on cold paper; Mr. Morse had recently announced a way of transmitting messages down metal wires. Had you mentioned magic or Faerie to any of them, they would have smiled at you disdainfully, except, perhaps for Mr. Dickens, at the time a young man, and beardless. He would have looked at you wistfully.

And you remember how warm bourbon tasted, in a paper cup with water dipped out of the lake at your feet. How the nights were so unbearably, hauntingly beautiful that you wanted to cry. How every patch of light and shadow from the moon seemed deep and lovely. Calm or storm, it didn't matter. It was exquisite and mysterious, just because it was night. I wonder now how I lost it, the mysteriousness, the wonder. It faded steadily until one day it was entirely gone, and night became just dark, and the moon was only something that waxed and waned and heralded a changing in the weather. And rain just washed out graveled roads. The glitter was gone. And the worst part was that you didn't know exactly at what point it disappeared. There was nothing you could point to and say: now, there. One day you saw that it was missing and had been missing for a long time. It wasn't even anything to grieve over, it had been such a long time passing. The glitter and hush-breath quality just slipped away...there isn't even a scene--not for me, nothing so definite--just the seepage, the worms of time...I look at my children now and I think: how long before they slip away, before I am disappointed in them.

Recuerdo We were very tired, we were very merry— We had gone back and forth all night on the ferry. It was bare and bright, and smelled like a stable— But we looked into a fire, we leaned across a table, We lay on a hill-top underneath the moon; And the whistles kept blowing, and the dawn came soon. We were very tired, we were very merry— We had gone back and forth all night on the ferry; And you ate an apple, and I ate a pear, From a dozen of each we had bought somewhere; And the sky went wan, and the wind came cold, And the sun rose dripping, a bucketful of gold. We were very tired, we were very merry, We had gone back and forth all night on the ferry. We hailed “Good morrow, mother!” to a shawl-covered head, And bought a morning paper, which neither of us read; And she wept, “God bless you!” for the apples and pears, And we gave her all our money but our subway fares.

Jack handed the notebook and his pencil to the moon man. They looked tiny in his big hands. The moon man looked down at the message. He looked at the tiny pencil. Then he turned the notebook over. Jack and Annie watched as the moon man put the pencil to the paper. He was writing something very carefully.

Ninja beats pirate. Pirate beats ghost. Ghost beats zombie. Zombie beats most. Werewolf beats vampire. Vamp beats Imp. Imp beats fiend. Fiend beats wimp. Wizard beats cyrborg. Cyborg surely beats troll. Troll beats goblin. Goblin eats a hermit’s soul. Hermit beats child. Child beats wagon. Wagon beats moon snake. Moon snake beats dragon. Dragon beats hydra. Hydra beats sailor. Sailor beats teacher. Teacher beats tailor. Tailor beats sun worm. Sun worm beats clown. Clown beats robo-squid. Robo-squid beats town. Town fights jackals. Town will win. Town fights mummies. Town won’t fight again. Zookeeper beats hell hound. Hell hound beats giant. Giant beats accountant. Accountant beats client. Client beats frog. Frog beats himself. Knight beats Big Foot. Big Foot beats elf. Elf beats pixie. Pixie beats specter. Specter beats sea hag. Sea hag beats Hector. Hector beats serpent. Serpent beats rat. Rat beats Grandma. Grandma beats cat. Lava beats demon. Demon beats warlock. Warlock beats dinosaur. Dino beats Spock. Spock beats Lando. Lando beats Qui-Gon. Qui-Gon beats Jar-Jar. Jar-Jar beats none. Rock beats scissors. Scissors beat paper. Paper beats insect. Insect beats vapor. Wood Woman beats Tree Man. Tree Man beats the dark. The dark kills spider-fish. Spider-fish beats shark. You beat me. I beat a dentist. The dentist beats the barber. The barber is menaced. These are the rules, and never forget. Now hand over your money and place your bet.

Recreation" Coming together it is easier to work after our bodies meet paper and pen neither care nor profit whether we write or not but as your body moves under my hands charged and waiting we cut the leash you create me against your thighs hilly with images moving through our word countries my body writes into your flesh the poem you make of me. Touching you I catch midnight as moon fires set in my throat I love you flesh into blossom I made you and take you made into me.

Absentmindedly, I started doodling in the margins of my paper. Renee, I wrote in cursive, and then again in bubble letters and then in the loopy handwriting of the mystery note. I drew a tiny picture of the moon above the lake. And then stick figures of people swimming in it. And then for some reason, I wrote Dante. First in print, and then in large, wavy letters, and then in all caps. Dante. Dante. DANTE. I had just finished writing, when I heard someone say my name. “Renee.” I shook myself out of my daze to discover that Mr. B. and the entire class were staring at me. “Earth to Renee. The most primitive tombs. What were they called?” he repeated. I glanced at my notes for the answer, but they were covered in doodles. “Dante,” I blurted out, reading the first word I saw. Immediately my face went red. “No, sorry, I meant . . . I meant dolmen.” I winced, hoping I was right so that I would be saved from further embarrassment. Thankfully, Dante wasn’t in my class. Mr. B. smiled. “Correct,” he said, returning to the board. He drew a diagram of a stonelike lean-to, which I recognized from the reading. I took notes and kept my head down for the rest of class.

Maybe I am staring into a piece of paper like it is a pond, hoping one day that what looks back is not my own reflection, but my great-grandmother's face. Maybe poetry is the distance between my face and her face. Maybe it's the difference between how the moon looks in the sky and how it contorts when a mayfly travels across the pond.

We read in the papers and hear on TV constantly that the world "is in an awful mess." Not true! The world is still most beautiful. It is man who is off center. The sun still illumines the day and gives light and life to all things; the moon still brightens the night; oceans still feed the world and provide transportation; rivers still drain the land, and provide irrigation water to nourish crops. Even the ravages of time have not sloughed off the majesty of the mountains. Flowers still bloom and birds still sing, and children still laugh and play.

Mist’s first passion, long before her love for cuisine took flight. She still thought fondly of evenings in front of her easel, the Pacific Ocean’s surf in the background, the glow of the moon across its surface. Those enchanted times, after hours working on the deck of an ocean side restaurant, had formed the bridge between her love of painting and her love of cooking. She would blend mustard and grape seed oil during the afternoon and mustard-hued oil paint at night, satisfied at the end of the day with the balance the two art forms created in her life. “Mist, dear, are you out there?” Mist followed the voice, moving into the kitchen, where she found Betty sliding a spatula between a sheet of wax paper and several rows of glazed

The school year progressed slowly. I felt as if I had been in the sixth grade for years, yet it was only October. Halloween was approaching. Coming from Ireland, we had never thought of it as a big holiday, though Sarah and I usually went out trick-or treating. For the last couple of years I had been too sick to go out, but this year Halloween fell on a day when I felt quiet fine. My mother was the one who came up with the Eskimo idea. I put on a winter coat, made a fish out of paper, which I hung on the end of a stick, and wrapped my face up in a scarf. My hair was growing in, and I loved the way the top of the hood rubbed against it. By this time my hat had become part of me; I took it off only at home. Sometimes kids would make fun of me, run past me, knock my hat off, and call me Baldy. I hated this, but I assumed that one day my hair would grow in, and on that day the teasing would end. We walked around the neighborhood with our pillowcase sacks, running into other groups of kids and comparing notes: the house three doors down gave whole candy bars, while the house next to that gave only cheap mints. I felt wonderful. It was only as the night wore on and the moon came out and the older kids, the big kids, went on their rounds that I began to realize why I felt so good. No one could see me clearly. No one could see my face.

O full and splendid Moon, whom I Have, from this desk, seen climb the sky So many a midnight,—would thy glow For the last time beheld my woe! Ever thine eye, most mournful friend, O'er books and papers saw me bend; But would that I, on mountains grand, Amid thy blessed light could stand, With spirits through mountain-caverns hover, Float in thy twilight the meadows over, And, freed from the fumes of lore that swathe me, To health in thy dewy fountains bathe me! Ah, me! this dungeon still I see. This drear, accursed masonry, Where even the welcome daylight strains But duskly through the painted panes.

O, may you look, full moon that shines, On my pain for this last time: So many midnights from my desk, I have seen you, keeping watch: When over my books and paper,    [390] Saddest friend, you appear! Ah! If on the mountain height I might stand in your sweet light, Float with spirits in mountain caves, Swim the meadows in twilight’ waves,    [395] Free from the smoke of knowledge too, Bathe in your health-giving dew!

Find anything about the Blade?” Billy let out an explosive sigh and creaked back in his chair, hands folded behind his head. “Comic book references. Stuff about some swordsman named Bob Anderson. Wesley Snipes pictures.” “Really?” I perked up, edging around his desk to try to get a look at the screen. “Any half-naked ones?” “Joanie!” I drooped. “I didn’t think so. There wasn’t nearly enough half-naked Wesley in those movies, anyway.

Sometimes the bad guys win and what does one do when the world one believes in turns out to be a paper moon and a dark planet rises and says, No, I am the world. How does one live amongst one’s fellow countrymen and countrywomen when you don’t know which of them is numbered amongst the sixty-million-plus who brought the horror to power, when you can’t tell who should be counted among the ninety-million-plus who shrugged and stayed home, or when your fellow Americans tell you that knowing things is elitist and they hate elites, and all you have ever had is your mind and you were brought up to believe in the loveliness of knowledge, not that knowledge-is-power nonsense but knowledge is beauty, and then all of that, education, art, music, film, becomes a reason for being loathed, and the creature out of Spiritus Mundi rises up and slouches toward Washington, D.C., to be born.

Things That Arouse a Fond Memory of the Past Dried hollyhock. The objects used during the Display of Dolls. To find a piece of deep violet or grape-colored material that has been pressed between the pages of a notebook. It is a rainy day and one is feeling bored. To pass the time, one starts looking through some old papers. And then one comes across the letters of a man one used to love. Last year’s paper fan. A night with a clear moon.

Fictional Characters" Do they ever want to escape? Climb out of the white pages and enter our world? Holden Caulfield slipping in the movie theater to catch the two o'clock Anna Karenina sitting in a diner, reading the paper as the waitress serves up a cheeseburger. Even Hector, on break from the Iliad, takes a stroll through the park, admires the tulips. Maybe they grew tired of the author's mind, all its twists and turns. Or were finally weary of stumbling around Pamplona, a bottle in each fist, eating lotuses on the banks of the Nile. For others, it was just too hot in the small California town where they'd been written into a lifetime of plowing fields. Whatever the reason, here they are, roaming the city streets rain falling on their phantasmal shoulders. Wouldn't you, if you could? Step out of your own story, to lean against a doorway of the Five & Dime, sipping your coffee, your life, somewhere far behind you, all its heat and toil nothing but a tale resting in the hands of a stranger, the sidewalk ahead wet and glistening. "Fictional Characters" by Danusha Laméris from The Moons of August. © Autumn House Press, 2014. Reprinted with permission

To distract himself, he formulated a proposition. A philosophical proposition? Maybe, but tending towards "weak thought"--exhausted thought, in fact. He even gave this proposition a title: "The Civilization of Today and the Ceremony of Access." What did it mean? It meant that, today, to enter any place whatsoever--an airport, a bank, a jeweler's or watchmaker's shop--you had to submit to a specific ceremony of control. Why ceremony? Because it served no concrete purpose. A thief, a hijacker, a terrorist--if they really want to enter--will find a way. The ceremony doesn't even serve to protect the people on the other side of the entrance. So whom does it serve? It serves the very person about to enter, to make him think that, once inside, he can feel safe.

We made close to forty boxes today. Fifteen truffles (still selling well), but also a batch of coconut squares, some sour cherry gobstoppers, some bitter-coated orange peel, some violet creams, and a hundred or so lunes de miel, those little discs of chocolate made to look like the waxing moon, with her profile etched in white against the dark face. It's such a delight to choose a box, to linger over the shape- will it be heart shaped, round, or square? To select the chocolates with care; to see them nestled between the folds of crunchy mulberry-colored paper; to smell the mingled perfumes of cream, caramel, vanilla, and dark rum; to choose a ribbon; to pick out a wrapping; to add flowers or paper hearts; to hear the silky whisssh of rice paper against the lid-

The world, that is, of earthquake and cataclysm, cyclone and devastation; the violent matrix, the real world of unmastered, unmasterable physical stress that is entirely inimical to man because of its indifference. Ocean, forest, mountain, weather - these are the inflexible institutions of that world of unquestionable reality which is so far removed from the social institutions which make up our own world that we men must always, whatever our difference, conspire to ignore them. For otherwise we would be forced to acknowledge our incomparable insignificance and the insignificance of those desires that might be the pyrotechnic tigers of our world and yet, under the cold moon and the frigid round dance of the unspeakably alien planets, are nothing but toy animals cut from coloured paper.

What you have heard is true. I was in his house. His wife carried a tray of coffee and sugar. His daughter filed her nails, his son went out for the night. There were daily papers, pet dogs, a pistol on the cushion beside him. The moon swung bare on its black cord over the house. On the television was a cop show. It was in English. Broken bottles were embedded in the walls around the house to scoop the kneecaps from a man's legs or cut his hands to lace. On the windows there were gratings like those in liquor stores. We had dinner, rack of lamb, good wine, a gold bell was on the table for calling the maid. The maid brought green mangoes, salt, a type of bread. I was asked how I enjoyed the country. There was a brief commercial in Spanish. His wife took everything away. There was some talk of how difficult it had become to govern. The parrot said hello on the terrace. The colonel told it to shut up, and pushed himself from the table. My friend said to me with his eyes: say nothing. The colonel returned with a sack used to bring groceries home. He spilled many human ears on the table. They were like dried peach halves. There is no other way to say this. He took one of them in his hands, shook it in our faces, dropped it into a water glass. It came alive there. I am tired of fooling around he said. As for the rights of anyone, tell your people they can go f--- themselves. He swept the ears to the floor with his arm and held the last of his wine in the air. Something for your poetry, no? he said. Some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground.

But love unexplained is clearer. When pen hasted to write, On reaching the subject of love it split in twain. When the discourse touched on the matter of love, Pen was broken and paper torn. In explaining it Reason sticks fast, as an ass in mire; Naught but Love itself can explain love and lovers! None but the sun can display the sun, If you would see it displayed, turn not away from it. Shadows, indeed, may indicate the sun's presence, But only the sun displays the light of life. Shadows induce slumber, like evening talks, But when the sun arises the "moon is split asunder." 3 In the world there is naught so wondrous as the sun, But the Sun of the soul sets not and has no yesterday. Though the material sun is unique and single, We can conceive similar suns like to it. But the Sun of the soul, beyond this firmament, No like thereof is seen in concrete or abstract.4

I CANNOT DECIDE WHETHER IT IS AN ILLNESS OR A SIN, THE NEED TO write things down and fix the flowing world in one rigid form. Bear believed writing dulled the spirit, stilled some holy breath. Smothered it. Words, when they’ve been captured and imprisoned on paper, become a barrier against the world, one best left unerected. Everything that happens is fluid, changeable. After they’ve passed, events are only as your memory makes them, and they shift shapes over time. Writing a thing down fixes it in place as surely as a rattlesnake skin stripped from the meat and stretched and tacked to a barn wall. Every bit as stationary, and every bit as false to the original thing. Flat and still and harmless. Bear recognized that all writing memorializes a momentary line of thought as if

Mad Lib Elegy" There are starving children left on your plate. There are injuries without brains. Migrant workers spend 23 hours a day removing tiny seeds from mixtures they cannot afford to smoke and cannot afford not to smoke. Entire nations are ignorant of the basic facts of hair removal and therefore resent our efforts to depilate unsightly problem areas. Imprisonment increases life expectancy. Finish your children. Adopt an injury. ‘I'm going to my car. When I get back, I'm shooting everybody.' [line omitted in memory of_______] 70% of pound animals will be euthanized. 94% of pound animals would be euthanized if given the choice. The mind may be trained to relieve itself on paper. A pill for your safety, a pill for her pleasure. Neighbors are bothered by loud laughter but not by loud weeping. Massively multiplayer zombie-infection web-games are all the rage among lifers. The world is a rare case of selective asymmetry. The capitol is redolent of burnt monk. ‘I'm going to my car. When I get back I'm shooting everybody.' [line omitted in memory of _______] There are two kinds of people in the world: those that condemn parking lots as monstrosities, ‘the ruines of a broken World,' and those that respond to their majesty emotionally. 70% of the planet is covered in parking lots. 94% of a man's body is parking lot. Particles of parking lot have been discovered in the permanent shadows of the moon. There is terror in sublimity. If Americans experience sublimity the terrorists have won. ‘I'm going to my car. When I get back I'm shooting everybody.' [line omitted in memory of _______]

If ever again we happened to lose our balance, just when sleepwalking through the same dream on the brink of hell’s valley, if ever the magical mare (whom I ride through the night air hollowed out into caverns and caves where wild animals live) in a crazy fit of anger over some word I might have said without the perfect sweetness that works on her like a charm, if ever the magic Mare looks over her shoulder and whinnies: “So! You don’t love me!” and bucks me off, sends me flying to the hyenas, if ever the paper ladder that I climb so easily to go pick stars for Promethea—at the very instant that I reach out my hand and it smells like fresh new moon, so good, it makes you believe in god’s genius—if ever at that very instant my ladder catches fire—because it is so fragile, all it would take is someone’s brushing against it tactlessly and all that would be left is ashes—if ever I had the dreadful luck again to find myself falling screaming down into the cruel guts of separation, and emptying all my being of hope, down to the last milligram of hope, until I am able to melt into the pure blackness of the abyss and be no more than night and a death rattle, I would really rather not be tumbling around without my pencil and paper.

Women are sewers just like we are, the once pure boys recognize with a start; it’s raw sewage that produces fertilization; once you understand that you can be fond of yourself and members of the Opposite Sex, but you can never quite see them again as ice cream bars. I, the author, don’t really mind this, for I love all girls and love to hug and kiss them and cheer them up when they cry, and have them perform all the same services for me; and a woman’s saliva is certainly a miracle, think of all those enzymes and germs; and if I took and wrote the chemicals down on a sheet of paper, all COOOHs and sighs, it would look pretty, just like a face all pretty, like the dear round moon-face of her who loves you or the creamy-freckled skin and blue eyes and heavenly hair of that Irish beauty back in college, so don’t think I’m complaining.

Every now and then, I'm lucky enough to teach a kindergarten or first-grade class. Many of these children are natural-born scientists - although heavy on the wonder side, and light on skepticism. They're curious, intellectually vigorous. Provocative and insightful questions bubble out of them. They exhibit enormous enthusiasm. I'm asked follow-up questions. They've never heard of the notion of a 'dumb question'. But when I talk to high school seniors, I find something different. They memorize 'facts'. By and large, though, the joy of discovery, the life behind those facts has gone out of them. They've lost much of the wonder and gained very little skepticism. They're worried about asking 'dumb' questions; they are willing to accept inadequate answers, they don't pose follow-up questions, the room is awash with sidelong glances to judge, second-by-second, the approval of their peers. They come to class with their questions written out on pieces of paper, which they surreptitiously examine, waiting their turn and oblivious of whatever discussion their peers are at this moment engaged in. Something has happened between first and twelfth grade. And it's not just puberty. I'd guess that it's partly peer pressure not to excel - except in sports, partly that the society teaches short-term gratification, partly the impression that science or mathematics won't buy you a sports car, partly that so little is expected of students, and partly that there are few rewards or role-models for intelligent discussion of science and technology - or even for learning for it's own sake. Those few who remain interested are vilified as nerds or geeks or grinds. But there's something else. I find many adults are put off when young children pose scientific questions. 'Why is the Moon round?', the children ask. 'Why is grass green?', 'What is a dream?', 'How deep can you dig a hole?', 'When is the world's birthday?', 'Why do we have toes?'. Too many teachers and parents answer with irritation, or ridicule, or quickly move on to something else. 'What did you expect the Moon to be? Square?' Children soon recognize that somehow this kind of question annoys the grown-ups. A few more experiences like it, and another child has been lost to science.

It will be seen that the form of the mountain’s spurs were very much [the] same as they appear on Thror’s map as published (with the height of Ravenhill at the end of the southern spur and the camp beneath it); but the ruins of Dale are on the east side of the River Running, since they were not enclosed within a great eastward loop of the river. The device at the top of the map apparently represents the points of the compass, with the seven stars of the Great Bear in the North (the black spots to the left of the stars are merely marks on the paper), the Sun in the South, the Misty Mountains in the West and (I think) the entrance to the Elvenking’s halls in the East. The names at the bottom of the page, ‘Mirkwood’, ‘marshes’, and ‘Lake Town’, and the ‘camp’below the mountain, were added in at the same time as the second version of the text of the Moon-runes. At the bottom on the right is the first actual sketch of the Lonely Mountain, added in pencil.

Never in my life had I even contemplated making love on a motorcycle, but there was no way Gareth would let me fall. I understood this on a primal level. He would keep me from harm, protect me... No matter how much I distracted and pleasured him. He pulled gently at the sensitive tip of my breast with his lips, soothing and teasing all at once. I reached behind to brace myself on the handlebars, my back arching toward him, offering myself as I watched his mouth on my skin, his tongue circling my nipple. He moved his other hand lower, pushing the bottom of my dress up. Moving his fingers up the soft skin of my inner thigh, he rubbed and teased me through the thin fabric of my thong underwear. "I need you," I gasped. "Now." He ripped my thong like it'd been made of tissue paper, and slid his fingers deep inside of me. His growl made me shiver with desire as he discovered just how ready I was for him. I gripped the handlebars tighter and leaned back a little, breaking the kiss as I stared into his eyes. Gareth took hold of my hips and pulled me closer, guiding me onto him. Every rock hard inch slid into me so slowly, my entire body shuddered with pleasure. He reached forward, taking my hands from the grips and putting them around his neck. Nose to nose, his dark eyes locked on mine as he thrust deeper inside of me. "You're mine. I'm yours." I wasn't sure what was happening, but my wolf came alive in my soul and I whispered, "I claim my mate.

Sighs, the rhythms of our heartbeats, contractions of childbirth, orgasms, all flow into time just as pendulum clocks placed next to one another soon beat in unison. Fireflies in a tree flash on and off as one. The sun comes up and it goes down. The moon waxes and wanes and usually the morning paper hits the porch at six thirty-five. Time stops when someone dies. Of course it stops for them, maybe, but for the mourners time runs amok. Death comes too soon. It forgets the tides, the days growing longer and shorter, the moon. It rips up the calendar. You aren't at your desk or on the subway or fixing dinner for the children. You're reading People in a surgery waiting room, or shivering outside on a balcony smoking all night long. You stare into space, sitting in your childhood bedroom with the globe on the desk. Persia, the Belgian Congo. The bad part is that when you return to your ordinary life all the routines, the marks of the day, seem like senseless lies. All is suspect, a trick to lull us, to rock us back into the placid relentlessness of time.

That August, the day of the lunar eclipse—their daughters three and a half and two—Cam piled everyone in the truck to get the best view from the top of Hopewell Hill. “Maybe they won’t remember,” he said. “I just like to show them things.” This was what you did. You took your children out in the darkness to watch the moon disappear. You dissected coyote scat with them. You led your two-year-old down to the garden to press a handful of radish seeds into the soil and handed her the spatula to lick when you made chocolate pudding and turned the pages of Richard Scarry’s What Do People Do All Day?, pointing out the animal characters and naming their jobs. You gathered autumn leaves, pressed them with an iron in between two sheets of wax paper, and taped them on the window, where you’d set an avocado seed in a glass of water to watch it sprout; and carried your three-year-old outside in your arms at night—her and her sister—to let them catch snowflakes. Who knew what they’d remember, and what they’d make of it, but the hope was there that if nothing else, what they would hold on to from these times was the knowledge of being deeply loved.

On this bald hill the new year hones its edge. Faceless and pale as china The round sky goes on minding its business. Your absence is inconspicuous; Nobody can tell what I lack. Gulls have threaded the river’s mud bed back To this crest of grass. Inland, they argue, Settling and stirring like blown paper Or the hands of an invalid. The wan Sun manages to strike such tin glints From the linked ponds that my eyes wince And brim; the city melts like sugar. A crocodile of small girls Knotting and stopping, ill-assorted, in blue uniforms, Opens to swallow me. I’m a stone, a stick, One child drops a carrette of pink plastic; None of them seem to notice. Their shrill, gravelly gossip’s funneled off. Now silence after silence offers itself. The wind stops my breath like a bandage. Southward, over Kentish Town, an ashen smudge Swaddles roof and tree. It could be a snowfield or a cloudbank. I suppose it’s pointless to think of you at all. Already your doll grip lets go. The tumulus, even at noon, guargs its black shadow: You know me less constant, Ghost of a leaf, ghost of a bird. I circle the writhen trees. I am too happy. These faithful dark-boughed cypresses Brood, rooted in their heaped losses. Your cry fades like the cry of a gnat. I lose sight of you on your blind journey, While the heath grass glitters and the spindling rivulets Unpool and spend themselves. My mind runs with them, Pooling in heel-prints, fumbling pebble and stem. The day empties its images Like a cup of a room. The moon’s crook whitens, Thin as the skin seaming a scar. Now, on the nursery wall, The blue night plants, the little pale blue hill In your sister’s birthday picture start to glow. The orange pompons, the Egyptian papyrus Light up. Each rabbit-eared Blue shrub behind the glass Exhales an indigo nimbus, A sort of cellophane balloon. The old dregs, the old difficulties take me to wife. Gulls stiffen to their chill vigil in the drafty half-light; I enter the lit house.

On your left you can see the Stationary Circus in all its splendor! Not far nor wide will you find dancing bears more nimble than ours, ringmasters more masterful, Lunaphants more buoyant!” September looked down and leftward as best she could. She could see the dancing bears, the ringmaster blowing peonies out of her mouth like fire, an elephant floating in the air, her trunk raised, her feet in mid-foxtrot—and all of them paper. The skin of the bears was all folded envelopes; they stared out of sealing-wax eyes. The ringmaster wore a suit of birthday invitations dazzling with balloons and cakes and purple-foil presents; her face was a telegram. Even the elephant seemed to be made up of cast-off letterheads from some far-off office, thick and creamy and stamped with sure, bold letters. A long, sweeping trapeze swung out before them. Two acrobats held on, one made of grocery lists, the other of legal opinions. September could see Latin on the one and lemons, ice, bread (not rye!), and lamb chops on the other in a cursive hand. When they let go of the trapeze-bar, they turned identical flips in the air and folded out into paper airplanes, gliding in circles all the way back down to the peony-littered ring. September gasped and clapped her hands—but the acrobats were already long behind them, bowing and catching paper roses in their paper teeth.

Then he said something about how L.A. is dust and exhaust and the hot, dry wind that sets your nerves on edge and pushes fire up the hillsides in ragged lines like tears in the paper that separates us from hell, and it’s towering clouds of smoke, and it’s sunshine that won’t let up and cool ocean fog that gets unrolled at night over the whole basin like a clean white hospital sheet and peeled back again in the morning. It’s a crescent moon in a sky bruised green after the sunset has beaten the shit out of it. It’s a lazy hammock moon rising over power lines, over the skeletal silhouettes of pylons, over shaggy cypress trees and the spiky black lionfish shapes of palm-tree crowns on too-skinny trunks. It’s the Big One that’s coming to turn the city to rubble and set the rubble on fire but not today, hopefully not today. It’s the obviousness of pointing out that the freeway looks like a ruby bracelet stretched alongside a diamond one, looks like a river of lava flowing counter to a river of champagne bubbles. People talk about the sprawl, and, yeah, the city is a drunk, laughing bitch sprawled across the flats in a spangled dress, legs kicked up the canyons, skirt spread over the hills, and she’s shimmering, vibrating, ticklish with light. Don’t buy a star map. Don’t go driving around gawking because you’re already there, man. You’re in it. It’s all one big map of the stars.

There was a short railway official travelling up to the terminus, three fairly short market-gardeners picked up two stations afterwards, one very short widow lady going up from a small Essex town, and a very short Roman Catholic priest going up from a small Essex village. When it came to the last case, Valentin gave it up and almost laughed. The little priest was so much the essence of those Eastern flats; he had a face as round and dull as a Norfolk dumpling; he had eyes as empty as the North Sea; he had several brown-paper parcels, which he was quite incapable of collecting. The Eucharistic Congress had doubtless sucked out of their local stagnation many such creatures, blind and helpless, like moles disinterred. Valentin was a skeptic in the severe style of France, and could have no love for priests. But he could have pity for them, and this one might have provoked pity in anybody. He had a large, shabby umbrella, which constantly fell on the floor. He did not seem to know which was the right end of his return ticket. He explained with a moon-calf simplicity to everybody in the carriage that he had to be careful, because he had something made of real silver "with blue stones" in one of his brown-paper parcels. His quaint blending of Essex flatness with saintly simplicity continuously amused the Frenchman till the priest arrived (somehow) at Tottenham with all his parcels, and came back for his umbrella.

Hush little baby, don’t you cry, Mama’s gonna sing you a lullaby, and if that mockingbird don’t sing, Papa’s gonna buy you a diamond ring. Mama, Dada, uh-oh, ball. Good night tree, good night stars, good night moon, good night nobody. Potato stamps, paper chains, invisible ink, a cake shaped like a flower, a cake shaped like a horse, a cake shaped like a cake, inside voice, outside voice. If you see a bad dog, stand still as a tree. Conch shells, sea glass, high tide, undertow, ice cream, fireworks, watermelon seeds, swallowed gum, gum trees, shoes and ships and sealing wax, cabbages and kings, double dares, alphabet soup, A my name is Alice and my boyfriend’s name is Andy, we come from Alabama and we like apples, A my name is Alice and I want to play the game of looooove. Lightning bugs, falling stars, sea horses, goldfish, gerbils eat their young, please, no peanut butter, parental signature required, #1 Mom, show-and-tell, truth or dare, hide-and-seek, red light, green light, please put your own mask on before assisting, ashes, ashes, we all fall down, how to keep the home fires burning, date night, family night, night-night, May came home with a smooth round stone as small as the world and as big as alone. Stop, Drop, Roll. Salutations, Wilbur’s heart brimmed with happiness. Paper valentines, rubber cement, please be mine, chicken 100 ways, the sky is falling. Monopoly, Monopoly, Monopoly, you be the thimble, Mama, I’ll be the car.

But you must admit,it's taking up an inordinate amount of your time. Why it's taken us six months to have dinner together." "Is that all?" He misinterpreted the quiet response, and the gleam in her eyes.And leaned toward her. She slapped a hand on his chest. "Don't even think about it.Let me tell you something,pal.I do more in one day with my school than you do in a week of pushing papers in that office your grandfather gave you between your manicures and amaretto lattes and soirees. Men like you hold no interest for me whatsoever,which is why it's taken six months for this tedious little date.And the next time I have dinner with you,we'll be slurping Popsicles in hell.So take your French tie and your Italian shoes and stuff them." Utter shock had him speechless as she shoved open her door.As insult trickled in,his lips thinned. "Obviously spending so much time in the stables has eroded your manners, and your outlook." "That's right, Chad." She leaned back in the door. "You're too good for me. I'm about to go up and weep into my pillow over it." "Rumor is you're cold," he said in a quiet, stabbing voice. "But I had to find out for myself." It stung,but she wasn't about to let it show. "Rumor is you're a moron. Now we've both confirmed the local gossip." He gunned the engine once,and she would have sworn she saw him vibrate. "And it's a British tie." She slammed the car door, then watched narrow-eyed as he drove away. "A British tie." A laugh gurgled up,deep from the belly and up into the throat so she had to stand, hugging herself, all but howling at the moon. "That sure told me." Indulging herself in a long sigh, she tipped her head back,looked up at the sweep of stars. "Moron," she murmured. "And that goes for both of us." She heard a faint click, spun around and saw Brian lighting up a slim cigar. "Lover's spat?" "Why yes." The temper Chad had roused stirred again. "He wants to take me to Antigua and I simply have my heart set on Mozambique.Antigua's been done to death." Brian took a contemplative puff of his cigar.She looked so damn beautiful standing there in the moonlight in that little excuse of a black dress, her hair spilling down her back like fire on silk.Hearing her long, gorgeous roll of laughter had been like discovering a treasure.Now the temper was back in her eyes,and spitting at him. It was almost as good. He took another lazy puff, blew out a cloud of smoke. "You're winding me up, Keeley." "I'd like to wind you up, then twist you into small pieces and ship them all back to Ireland." "I figured as much." He disposed of the cigar and walked to her. Unlike Chad, he didn't misinterpret the glint in her eyes. "You want to have a pop at someone." He closed his hand over the one she'd balled into a fist, lifted it to tap on his own chin. "Go ahead." "As delightful as I find that invitation, I don't solve my disputes that way." When she started to walk away, he tightened his grip. "But," she said slowly, "I could make an exception." "I don't like apologizing, and I wouldn't have to-again-of you'd set me straight right off." She lifted an eyebrow.Trying to free herself from that big, hard hand would only be undignified.

The Portal Potion Success! After weeks and weeks of trying, I’ve finally discovered the correct ingredients for the potion I’d hoped to create for my son! With just a few drops, the potion turns any written work into a portal to the world it describes. Even with my ability to create portals to and from the Otherworld, I never thought it would be possible to create a substance that allowed me passage to any world I wished. My son will get to see the places and meet the characters he’s spent his whole childhood dreaming about! And best of all, I’ll get to watch his happiness soar as it happens! The ingredients are much simpler than I imagined, but difficult to obtain. Their purposes are more metaphysical than practical, so it took some imagination to get the concoction right. The first requirement is a branch from the oldest tree in the woods. To bring the pages to life, I figured the potion would need the very thing that brought the paper to life in the first place. And what else has more life than an ancient tree? The second ingredient is a feather from the finest pheasant in the sky. This will guarantee your potion has no limits, like a bird in flight. It will ensure you can travel to lands far and wide, beyond your imagination. The third component is a liquefied lock and key that belonged to a true love. Just as this person unlocked your heart to a life of love, it will open the door of the literary dimensions your heart desires to experience. The fourth ingredient is two weeks of moonlight. Just as the moon causes waves in the ocean, the moonlight will stir your potion to life. Last, but most important, give the potion a spark of magic to activate all the ingredients. Send it a beam of joy straight from your heart. The potion does not work on any biographies or history books, but purely on works that have been imagined. Now, I must warn about the dangers of entering a fictional world: 1. Time only exists as long as the story continues. Be sure to leave the book before the story ends, or you may disappear as the story concludes. 2. Each world is made of only what the author describes. Do not expect the characters to have any knowledge of our world or the Otherworld. 3. Beware of the story’s villains. Unlike people in our world or the Otherworld, most literary villains are created to be heartless and stripped of all morals, so do not expect any mercy should you cross paths with one. 4. The book you choose to enter will act as your entrance and exit. Be certain nothing happens to it; it is your only way out. The

If the total energy of the universe must always remain zero, and it costs energy to create a body, how can a whole universe be created from nothing? That is why there must be a law like gravity. Because gravity is attractive, gravitational energy is negative: One has to do work to separate a gravitationally bound system, such as the earth and moon. This negative energy can balance the positive energy needed to create matter, but it’s not quite that simple. The negative gravitational energy of the earth, for example, is less than a billionth of the positive energy of the matter particles the earth is made of. A body such as a star will have more negative gravitational energy, and the smaller it is (the closer the different parts of it are to each other), the greater this negative gravitational energy will be. But before it can become greater than the positive energy of the matter, the star will collapse to a black hole, and black holes have positive energy. That’s why empty space is stable. Bodies such as stars or black holes cannot just appear out of nothing. But a whole universe can. Because gravity shapes space and time, it allows space-time to be locally stable but globally unstable. On the scale of the entire universe, the positive energy of the matter can be balanced by the negative gravitational energy, and so there is no restriction on the creation of whole universes. Because there is a law like gravity, the universe can and will create itself from nothing in the manner described in Chapter 6. Spontaneous creation is the reason there is something rather than nothing, why the universe exists, why we exist. It is not necessary to invoke God to light the blue touch paper and set the universe going.

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

He was forever wallowing in the mire, dirtying his nose, scrabbling his face, treading down the backs of his shoes, gaping at flies and chasing the butterflies (over whom his father held sway); he would pee in his shoes, shit over his shirt-tails, [wipe his nose on his sleeves,] dribble snot into his soup and go galumphing about. [He would drink out of his slippers, regularly scratch his belly on wicker-work baskets, cut his teeth on his clogs, get his broth all over his hands, drag his cup through his hair, hide under a wet sack, drink with his mouth full, eat girdle-cake but not bread, bite for a laugh and laugh while he bit, spew in his bowl, let off fat farts, piddle against the sun, leap into the river to avoid the rain, strike while the iron was cold, dream day-dreams, act the goody-goody, skin the renard, clack his teeth like a monkey saying its prayers, get back to his muttons, turn the sows into the meadow, beat the dog to teach the lion, put the cart before the horse, scratch himself where he ne’er did itch, worm secrets out from under your nose, let things slip, gobble the best bits first, shoe grasshoppers, tickle himself to make himself laugh, be a glutton in the kitchen, offer sheaves of straw to the gods, sing Magnificat at Mattins and think it right, eat cabbage and squitter puree, recognize flies in milk, pluck legs off flies, scrape paper clean but scruff up parchment, take to this heels, swig straight from the leathern bottle, reckon up his bill without Mine Host, beat about the bush but snare no birds, believe clouds to be saucepans and pigs’ bladders lanterns, get two grists from the same sack, act the goat to get fed some mash, mistake his fist for a mallet, catch cranes at the first go, link by link his armour make, always look a gift horse in the mouth, tell cock-and-bull stories, store a ripe apple between two green ones, shovel the spoil back into the ditch, save the moon from baying wolves, hope to pick up larks if the heavens fell in, make virtue out of necessity, cut his sops according to his loaf, make no difference twixt shaven and shorn, and skin the renard every day.]

Kekulé dreams the Great Serpent holding its own tail in its mouth, the dreaming Serpent which surrounds the World. But the meanness, the cynicism with which this dream is to be used. The Serpent that announces, "The World is a closed thing, cyclical, resonant, eternally-returning," is to be delivered into a system whose only aim is to violate the Cycle. Taking and not giving back, demanding that "productivity" and "earnings" keep on increasing with time, the System removing from the rest of the World these vast quantities of energy to keep its own tiny desperate fraction showing a profit: and not only most of humanity—most of the World, animal, vegetable, and mineral, is laid waste in the process. The System may or may not understand that it's only buying time. And that time is an artificial resource to begin with, of no value to anyone or anything but the System, which must sooner or later crash to its death, when its addiction to energy has become more than the rest of the World can supply, dragging with it innocent souls all along the chain of life. Living inside the System is like riding across the country in a bus driven by a maniac bent on suicide . . . though he's amiable enough, keeps cracking jokes back through the loudspeaker . . . on you roll, across a countryside whose light is forever changing--castles, heaps of rock, moons of different shapes and colors come and go. There are stops at odd hours of teh mornings, for reasons that are not announced: you get out to stretch in lime-lit courtyards where the old men sit around the table under enormous eucalyptus trees you can smell in the night, shuffling the ancient decks oily and worn, throwing down swords and cups and trumps major in the tremor of light while behind them the bus is idling, waiting--"passengers will now reclaim their seats" and much as you'd like to stay, right here, learn the game, find your old age around this quiet table, it's no use: he is waiting beside the door of the bus in his pressed uniform, Lord of the Night he is checking your tickets, your ID and travel papers, and it's the wands of enterprise that dominate tonight...as he nods you by, you catch a glimpse of his face, his insane, committed eyes, and you remember then, for a terrible few heartbeats, that of course it will end for you all in blood, in shock, without dignity--but there is meanwhile this trip to be on ... over your own seat, where there ought to be an advertising plaque, is instead a quote from Rilke: "Once, only once..." One of Their favorite slogans. No return, no salvation, no Cycle--that's not what They, nor Their brilliant employee Kekule, have taken the Serpent to mean.