Paper Towns Important Quotes

Leaving feels good and pure only when you leave something important, something that mattered to you. Pulling life out by the roots. But you can't do that until your life has grown roots.

I always felt like you had to be important to have enemies.

Because Margo knows the secret of leaving, the secret I have only just now learned; leaving feels good and pure only when you leave something important, something that mattered to you. Pulling life out by the roots. But you can't do that until your life has grown roots.

Standing before this building, I learn something about fear. I learn that it is not the idle fantasies of someone who maybe wants something important to happen to him, even if the important thing is horrible. It is not the disgust of seeing a dead stranger, and not the breathlessness of hearing a shotgun pumped outside of Becca Arrington’s house. This cannot be addressed by breathing exercises. This fear bears no analogy to any fear I knew before. This is the basest of all possible emotions, the feeling that was with us before we existed, before this building existed, before the earth existed. This is the fear that made fish crawl onto dry land and evolve lungs, the fear that teaches us to run, the fear that makes us bury our dead.

And I don't really have anyone upon whom I want to rain down my wrath," I said, because in truth I didn't. I always felt like you had to be important to have enemies. Example: Historically, Germany has had more enemies than Luxembourg, Margo Roth Spiegelman was Germany. And Great Britain. And the United States. And czarist Russia. Me, I'm Luxembourg. Just sitting around, tending sheep, and yodeling.

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

When you say nasty things about people, you should never say the true ones, because you can't really trully and honestly take those back...

The perception of who you are is more important than who you are. You are what other people think of you.

There are so many people. It is easy to forget how full the world is of people, full to bursting, and each of them imaginable and consistently misimagined. I feel like this is an important idea, one of those ideas that your brain must wrap itself around slowly, the way pythons eat...

Ben, there are more important things going on,” I answered. “DESIGNATED DRIVER!” “What?” “You’re my designated driver! Yes! You are so designated! I love that you answered! That’s so awesome! I have to be home by six! And I designate you to get me there! YESSSSSSS!” “Can’t you just spend the night there?” I asked. “NOOOO! Booooo. Booo on Quentin. Hey, everybody! Boooo Quentin!” And then I was booed. “Everybody’s drunk. Ben drunk. Lacey drunk. Radar drunk. Nobody drive. Home by six. Promised Mom. Boo, Sleepy Quentin! Yay, Designated Driver! YESSSS!

I couldn’t figure out which of these ideas, if any, was at the core of the poem. But thinking about the grass and all the different ways you could se it made me think about all the ways I’d seen and mis-seen Margo. There was no shortage of ways to see her. I’d been focused on what had become of her, but now with my head trying to understand the multiplicity of grass and her smell from the blanket still in my throat, I realized that the most important question was who I was looking for. If “What is the grass?” has such a complicated answer, I thought, so, too, must “Who is Margo Roth Spiegelman?” Like a metaphor rendered incomprehensible by its ubiquity, there was room enough in what she had left me for endless imaginings, for an infinite set of Margos.

the secret of leaving, the secret I have only just now learned: leaving feels good and pure only when you leave something important, something that mattered to you." - Quentin

Leaving feels good and pure only when you leave something important, something that mattered to you.

It wouldn’t be right, the first night on Mars, to make a loud noise, to introduce a strange, silly bright thing like a stove. It would be a kind of imported blasphemy. There’d be time for that later; time to throw condensed-milk cans in the proud Martian canals; time for copies of the New York Times to blow and caper and rustle across the lone gray Martian sea bottoms; time for banana peels and picnic papers in the fluted, delicate ruins of the old Martian valley towns. Plenty of time for that.

When yu say nasty things about people, you shouldnever say the true ones, because you can't really fully and honest take those back...

I learn something about fear. I learn that it is not the idle fantasies of someone who maybe wants something important to happen to him, even if the important thing is horrible.

I said nothing again. I just wanted her to keep talking - that small voice tense with the excitement of almost knowing things, making me feel like something important was happening to me.

Standing before this building, I learn something about fear. I learn that it is not the idle fantasies of someone who maybe wants something important to happen to him, even if the important thing is horrible.

La Margo sap el secret de marxar […]: marxar proporciona una sensació bona i pura només quan deixes alguna cosa important, alguna cosa que valores. Quan arrenques la vida de socarel. Però no ho pots fer fins que la teva vida no arreli.

There are so many people. It is easy to forget how full the world is of people, full to bursting, and each of them imaginable and consistently misimagined. I feel like this is an important idea, one of those ideas that your brain must wrap itself around slowly.

New York or California? Chicago or D.C.? I could go now, too, I thought. I had a car just as much as she did. I could go to the five spots on the map, and even if I didn't find her, it would be more fun than another boiling summer in Orlando. But no. It's like breaking into SeaWorld. It takes an immaculate plan, and then you execute it brilliantly, and then—­nothing. And then it's just SeaWorld, except darker. She'd told me: the pleasure isn't in doing the thing; the pleasure is in planning it. And that's what I thought about as I stood beneath the showerhead: the planning. She sits in the minimall with her notebook, planning. Maybe she's planning a road trip, using the map to imagine routes. She reads the Whitman and highlights "I tramp a perpetual journey," because that's the kind of thing she likes to imagine herself doing, the kind of thing she likes to plan. But is it the kind of thing she likes to actually do? No. Because Margo knows the secret of leaving, the secret I have only just now learned: leaving feels good and pure only when you leave something important, something that mattered to you. Pulling life out by the roots. But you can't do that until your life has grown roots.

But is it the kind of thing she likes to actually do? No. Because Margo knows the secret of leaving, the secret I have only just now learned: leaving feels good and pure only when you leave something important, something that mattered to you. Pulling life out by the roots. But you can’t do that until your life has grown roots.

Because Margo knows the secret of leaving, the secret I have only just now learned: leaving feels good and pure only when you leave something important, something that mattered to you. Pulling life out by the roots. But you can’t do that until your life has grown roots. And so when she left, she left for good. But I could not believe she had left for a perpetual journey. She had, I felt sure, left for a place—a place where she could stay long enough for it to matter, long enough for the next leaving to feel as good as the last one had. There is a corner of the world somewhere far away from here where no one knows what “Margo Roth Spiegelman” means. And Margo is sitting in that corner, scrawling in her black notebook.

La por no és la vana fantasia d'algú que potser vol que li passi alguna cosa important, encara que la cosa important sigui horrible. [...] Aquesta és l'emoció més abjecta de totes, una sensació que ja dúiem a dins abans que existíssim, [...] abans que existís la Terra. Aquesta és la por que va fer que els peixos s'arrosseguessin per terreny sec i desenvolupessin pulmons, la por que ens ensenya a córrer.

There was still some time before the train opened its doors for boarding, yet passengers were hurriedly buying boxed dinners, snacks, cans of beer, and magazines at the kiosk. Some had white iPod headphones in their ears, already off in their own little worlds. Others palmed smartphones, thumbing out texts, some talking so loudly into their phones that their voices rose above the blaring PA announcements. Tsukuru spotted a young couple, seated close together on a bench, happily sharing secrets. A pair of sleepy-looking five- or six-year-old twin boys, with their mother and father dragging them along by their hands, were whisked past where Tsukuru sat. The boys clutched small game devices. Two young foreign men hefted heavy-looking backpacks, while a young woman was lugging a cello case. A woman with a stunning profile passed by. Everyone was boarding a night train, heading to a far-off destination. Tsukuru envied them. At least they had a place they needed to go to. Tsukuru Tazaki had no place he needed to go. He realized that he had never actually been to Matsumoto, or Kofu. Or Shiojiri. Not even to the much closer town of Hachioji. He had watched countless express trains for Matsumoto depart from this platform, but it had never occurred to him that there was a possibility he could board one. Until now he had never thought of it. Why is that? he wondered. Tsukuru imagined himself boarding this train and heading for Matsumoto. It wasn’t exactly impossible. And it didn’t seem like such a terrible idea. He’d suddenly gotten it into his head, after all, to take off for Finland, so why not Matsumoto? What sort of town was it? he wondered. What kind of lives did people lead there? But he shook his head and erased these thoughts. Tomorrow morning it would be impossible to get back to Tokyo in time for work. He knew that much without consulting the timetable. And he was meeting Sara tomorrow night. It was a very important day for him. He couldn’t just take off for Matsumoto on a whim. He drank the rest of his now-lukewarm coffee and tossed the paper cup into a nearby garbage bin. Tsukuru Tazaki had nowhere he had to go. This was like a running theme of his life. He had no place he had to go to, no place to come back to. He never did, and he didn’t now.

Potser es trenquen les cordes, o potser s'enfonsa el nostre vaixell, o potser som herba, i les arrels són tan interdependents que ningú no es mor mentre encara hi hagi algú viu. El que dic és que, de metàfores, en tenim tantes com vulguem. Però s'ha de vigilar la que es tria, perquè és important. Si tries les cordes, llavors conceps un món en què et pots trencar sense que et puguin arreglar. Si tries l'herba, insinues que tots estem connectats fins a l'infinit, que podem utilitzar aquest sistema d'arrels no només per entendre'ns els uns als altres, sinó també per convertir-nos en l'altre. Les metàfores tenen implicacions.

I learn something about fear. I learn that it is not the idle fantasies of someone who maybe wants something important to happen to him, even if the important thing is horrible. It is not the disgust of seeing a dead stranger, and not the breathlessness of hearing a shotgun pumped outside of Becca Arrington’s house. This cannot be addressed by breathing exercises. This fear bears no analogy to any fear I knew before. This is the basest of all possible emotions, the feeling that was with us before we existed, before this building existed, before the earth existed. This is the fear that made fish crawl onto dry land and evolve lungs, the fear that teaches us to run, the fear that makes us bury our dead.

Standing before this building, I learn something about fear. I learn that it's not the idle fantasies of someone who maybe wants something important to happen to him, even if the important thing is horrible. It is not the disgust of seeing a dead stranger, and not the breathlessness of hearing a shotgun pumped outside of Becca Arrington's house. This cannot be addressed by breathing exercises. This fear bears no analogy to any fear I knew before. This is the basest of all possible emotions, the feeling that was with us before we existed, before this building existed, before the earth existed. This is the fear that made fish crawl out onto dry land and evolve lungs, the fear that reaches us to run, the fear that makes us bury our dead.

I have talked to many people about this and it seems to be a kind of mystical experience. The preparation is unconscious, the realization happens in a flaming second. It was on Third Avenue. The trains were grinding over my head. The snow was nearly waist-high in the gutters and uncollected garbage was scattered in a dirty mess. The wind was cold, and frozen pieces of paper went scraping along the pavement. I stopped to look in a drug-store window where a latex cooch dancer was undulating by a concealed motor–and something burst in my head, a kind of light and a kind of feeling blended into an emotion which if it had spoken would have said, “My God! I belong here. Isn’t this wonderful?” Everything fell into place. I saw every face I passed. I noticed every doorway and the stairways to apartments. I looked across the street at the windows, lace curtains and potted geraniums through sooty glass. It was beautiful–but most important, I was part of it. I was no longer a stranger. I had become a New Yorker. Now there may be people who move easily into New York without travail, but most I have talked to about it have had some kind of trial by torture before acceptance. And the acceptance is a double thing. It seems to me that the city finally accepts you just as you finally accept the city. A young man in a small town, a frog in a small puddle, if he kicks his feet is able to make waves, get mud in his neighbor’s eyes–make some impression. He is known. His family is known. People watch him with some interest, whether kindly or maliciously. He comes to New York and no matter what he does, no one is impressed. He challenges the city to fight and it licks him without being aware of him. This is a dreadful blow to a small-town ego. He hates the organism that ignores him. He hates the people who look through him. And then one day he falls into place, accepts the city and does not fight it any more. It is too huge to notice him and suddenly the fact that it doesn’t notice him becomes the most delightful thing in the world. His self-consciousness evaporates. If he is dressed superbly well–there are half a million people dressed equally well. If he is in rags–there are a million ragged people. If he is tall, it is a city of tall people. If he is short the streets are full of dwarfs; if ugly, ten perfect horrors pass him in one block; if beautiful, the competition is overwhelming. If he is talented, talent is a dime a dozen. If he tries to make an impression by wearing a toga–there’s a man down the street in a leopard skin. Whatever he does or says or wears or thinks he is not unique. Once accepted this gives him perfect freedom to be himself, but unaccepted it horrifies him. I don’t think New York City is like other cities. It does not have character like Los Angeles or New Orleans. It is all characters–in fact, it is everything. It can destroy a man, but if his eyes are open it cannot bore him. New York is an ugly city, a dirty city. Its climate is a scandal, its politics are used to frighten children, its traffic is madness, its competition is murderous. But there is one thing about it–once you have lived in New York and it has become your home, no place else is good enough. All of everything is concentrated here, population, theatre, art, writing, publishing, importing, business, murder, mugging, luxury, poverty. It is all of everything. It goes all right. It is tireless and its air is charged with energy. I can work longer and harder without weariness in New York than anyplace else….

ALGERNON: I suspected that, my dear fellow! I have Bunburyed all over Shropshire on two separate occasions. Now, go on. Why are you Ernest in town and Jack in the country? JACK: My dear Algy, I don’t know whether you will be able to understand my real motives. You are hardly serious enough. When one is placed in the position of guardian, one has to adopt a very high moral tone on all subjects. It’s one’s duty to do so. And as a high moral tone can hardly be said to conduce very much to either one’s health or one’s happiness, in order to get up to town I have always pretended to have a younger brother of the name of Ernest, who lives in the Albany, and gets into the most dreadful scrapes. That, my dear Algy, is the whole truth pure and simple. ALGERNON: The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility! JACK: That wouldn’t be at all a bad thing. ALGERNON: Literary criticism is not your forte, my dear fellow. Don’t try it. You should leave that to people who haven’t been at a University. They do it so well in the daily papers. What you really are is a Bunburyist. I was quite right in saying you were a Bunburyist. You are one of the most advanced Bunburyists I know. JACK: What on earth do you mean? ALGERNON: You have invented a very useful younger brother called Ernest, in order that you may be able to come up to town as often as you like. I have invented an invaluable permanent invalid called Bunbury, in order that I may be able to go down into the country whenever I choose. Bunbury is perfectly invaluable. If it wasn’t for Bunbury’s extraordinary bad health, for instance, I wouldn’t be able to dine with you at Willis’s to-night, for I have been really engaged to Aunt Augusta for more than a week.

Sempre que he pensat en la mort d'aquell home, […] l'he imaginat com vas dir tu, que se li van trencar totes les cordes de dins. Però hi ha mil maneres de mirar-s'ho: potser es trenquen les cordes, o potser s'enfonsa el nostre vaixell, o potser som herba, i les arrels són tan interdependents que ningú no es mor mentre encara hi hagi algú viu. El que dic és que, de metàfores, en tenim tantes com vulguem. Però s'ha de vigilar la que es tria, perquè és important. Si tries les cordes, llavors conceps un món en què et pots trencar sense que et puguin arreglar. Si tries l'herba, insinues que tots estem connectats fins a l'infinit, que podem utilitzar aquest sistema d'arrels no només per entendre'ns els uns als altres, sinó també per convertir-nos en l'altre. […] Les cordes fan que el dolor sembli més fatídic del que és, diria. No som tan fràgils com ens podrien fer entendre les cordes. I també m'agrada l'herba. L'herba m'ha portat fins a tu, m'ha ajudat a imaginar-te com una persona real. Però no som diferents brots de la mateixa planta. Jo no puc ser tu. Tu no pots ser jo. Es pot imaginar prou bé una altra persona, però mai a la perfecció, oi? Potser és més com deies abans, tots estem esquerdats. Tots comencem sent un vaixell hermètic, un compartiment estanc. I passen coses; la gent ens deixa, o no ens estima, o no ens entén, o no els entenem nosaltres, i ens perdem i ens decebem i ens ferim mútuament. I el vaixell es comença a esquerdar per molts llocs. I, és clar, un cop s'esquerda el vaixell, el final esdevé inevitable. […] Però hi ha tot un lapse de temps entre que es comencen a obrir les esquerdes fins que finalment ens trenquem. I és només durant aquest temps que ens podem veure, perquè nosaltres ens veiem a través de les esquerdes i veiem l'interior dels altres a través de les seves esquerdes. Quan ens hem vist cara a cara? No ha estat fins que tu m'has vist a través de les meves esquerdes i jo t'he vist a través de les teves. Abans, només miràvem idees d'un i altre […]. Però un cop el vaixell s'esquerda, la llum hi pot entrar. La llum en pot sortir.

At the diner where we went for our snack, there was yet another curious thing that made me think. White people like us would come in and take seats at the counter, but black people would place an order and then stand against the wall. When their food was ready, it would be handed to them in a paper bag and they would take it home or out to their car. My father explained to us that Negroes weren’t allowed to sit at luncheon counters in Washington. It wasn’t against the law exactly, but they didn’t do it because Washington was enough of a Southern city that they just didn’t dare. That seemed strange too and it made me even more reflective. Afterwards, lying awake in the hot hotel room, listening to the restless city, I tried to understand the adult world and could not. I had always thought that once you grew up you could do anything you wanted—stay up all night or eat ice cream straight out of the container. But now, on this one important evening of my life, I had discovered that if you didn’t measure up in some critical way, people might shoot you in the head or make you take your food out to the car. I sat up on one elbow and asked my dad if there were places where Negroes ran lunch counters and made white people stand against the wall. My dad regarded me over the top of a book and said he didn’t think so. I asked him what would happen if a Negro tried to sit at a luncheon counter, even though he wasn’t supposed to. What would they do to him? My dad said he didn’t know and told me I should go to sleep and not worry about such things. I lay down and thought about it for a while and supposed that they would shoot him in the head. Then I rolled over and tried to sleep, but I couldn’t, partly because it was so hot and I was confused and partly because earlier in the evening my brother had told me that he was going to come over to my bed when I was asleep and wipe boogers on my face because I hadn’t given him a bite of my frosted malt at the ball game, and I was frankly unsettled by this prospect, even though he seemed to be sleeping soundly now. The world has changed a lot since those days, of course. Now if you lie awake in a hotel room at night, you don’t hear the city anymore.

money untouched he inspected the left side. It looked like the nail head rusted just enough for the tin to pop off, but he decided to check behind anyway. He pulled the tin away from the wall and looked into the dimly lit space. To his surprise, something was there. He reached in and pulled out a large cardboard envelope. The envelope was a heavy one used to mail important documents and looked like it had been there for a while. It was addressed to Edward, but there was no return address. The top was open, so Adam reached inside. He pulled out a small stack of papers and pictures. The picture on top was of a group of people standing in front of Town Hall. It must have been the Grand Opening, because they were all dressed in formal clothes and there were decorations hanging in the background. If it was the Grand Opening, the picture was from 1910. He had learned the year it was built while on a class trip a few years before. The date was carved into a brick near the main entrance. Adam looked at the picture a little closer. Each of the people wore the same lapel pin as the one Edward wore in his portrait.

together in town, each one on a separate little strip of paper. Then, we rolled up all the little strips and placed them inside our “fun jar.” Now, every Friday afternoon, we simply pull an activity from the fun jar and do it. Sometimes we’ll visit a museum, while other times we’ll play in the park or visit a highly rated ice cream parlor across town. That time is reserved just for us. Truth be told, the fun jar idea doesn’t always work as smoothly as I’d like. It’s hard for me to muster up the energy to head to the playground when New York’s temperatures fall below freezing. On those days, a cup of hot cocoa and a couple of chapters of Harry Potter sound way more inviting for us both. What’s important, though, is that I’ve made it a priority in my weekly schedule to live up to my values. Having this time in my schedule allows me to be the dad that I envision myself to be.

Set the table: Decide exactly what you want. Clarity is essential. Write out your goals and objectives before you begin. Plan every day in advance: Think on paper. Every minute you spend in planning can save you five or ten minutes in execution. Apply the 80/20 Rule to everything: Twenty percent of your activities will account for 80 percent of your results. Always concentrate your efforts on that top 20 percent. Consider the consequences: Your most important tasks and priorities are those that can have the most serious consequences, positive or negative, on your life or work. Focus on these above all else. Practice creative procrastination: Since you can't do everything, you must learn to deliberately put off those tasks that are of low value so that you have enough time to do the few things that really count. Use the ABCDE Method continually: Before you begin work on a list of tasks, take a few moments to organize them by value and priority so you can be sure of working on your most important activities. Focus on key result areas: Identify and determine those results that you absolutely, positively have to get to do your job well, and work on them all day long. The Law of Three: Identify the three things you do in your work that account for 90 percent of your contribution, and focus on getting them done before anything else. You will then have more time for your family and personal life. Prepare thoroughly before you begin: Have everything you need at hand before you start. Assemble all the papers, information, tools, work materials, and numbers you might require so that you can get started and keep going. Take it one oil barrel at a time: You can accomplish the biggest and most complicated job if you just complete it one step at a time. Upgrade your key skills: The more knowledgeable and skilled you become at your key tasks, the faster you start them and the sooner you get them done. Leverage your special talents: Determine exactly what it is that you are very good at doing, or could be very good at, and throw your whole heart into doing those specific things very, very well. Identify your key constraints: Determine the bottlenecks or choke points, internal or external, that set the speed at which you achieve your most important goals, and focus on alleviating them. Put the pressure on yourself: Imagine that you have to leave town for a month, and work as if you had to get all your major tasks completed before you left. Maximize your personal power: Identify your periods of highest mental and physical energy each day, and structure your most important and demanding tasks around these times. Get lots of rest so you can perform at your best. Motivate yourself into action: Be your own cheerleader. Look for the good in every situation. Focus on the solution rather than the problem. Always be optimistic and constructive. Get out of the technological time sinks: Use technology to improve the quality of your communications, but do not allow yourself to become a slave to it. Learn to occasionally turn things off and leave them off. Slice and dice the task: Break large, complex tasks down into bite-sized pieces, and then do just one small part of the task to get started. Create large chunks of time: Organize your days around large blocks of time where you can concentrate for extended periods on your most important tasks. Develop a sense of urgency: Make a habit of moving fast on your key tasks. Become known as a person who does things quickly and well. Single handle every task: Set clear priorities, start immediately on your most important task, and then work without stopping until the job is 100 percent complete. This is the real key to high performance and maximum personal productivity.

I’m trying to make a profit. I’m using batteries, toilet paper, and paper towels as currency. Each is something that will eventually be in short supply.” “You’re trying to get all the toilet paper in town?” Astrid shrilled. “Are you kidding?” “No, Astrid, I’m not kidding,” Albert said. “Look, right now, kids are playing with the stuff. I saw little kids throwing rolls of it around on their lawns like it was a toy. So—” “So your solution is to try and take it all away from people?” “You’d rather see it wasted?” “Yeah, actually,” Astrid huffed. “Rather than you getting it all for yourself. You’re acting like a jerk.” Albert’s eyes flared. “Look, Astrid, now kids know they can buy their way into the club with it. So they’re not going to waste it anymore.” “No, they’re going to give it all to you,” she shot back. “And what happens when they need some?” “Then there will still be some left because I made it valuable.” “Valuable to you.” “Valuable to everyone, Astrid.” “It’s you taking advantage of kids dumb enough not to know any better. Sam, you have to put a stop to this.” Sam had drifted away from the conversation, his head full of the music. He snapped back. “She’s right, Albert, this isn’t okay. You didn’t get permission—” “I didn’t think I needed permission to give kids what they want. I mean, I’m not threatening anyone, saying, ‘Give me your toilet paper, give me your batteries.’ I’m just playing some music and saying, ‘If you want to come in and dance, then it’ll cost you.’” “Dude, I respect you being ambitious and all,” Sam said. “But I have to shut this down. You never got permission, even, let alone asked us if it was okay to charge people.” Albert said, “Sam, I respect you more than I can even say. And Astrid, you are way smarter than me. But I don’t see how you have the right to shut me down.” That was it for Sam. “Okay, I tried to be nice. But I am the mayor. I was elected, as you probably remember, since I think you voted for me.” “I did. I’d do it again, man. But Sam, Astrid, you guys are wrong here. This club is about all these kids have that can get them together for a good time. They’re sitting in their homes starving and feeling sad and scared. When they’re dancing, they forget how hungry and sad they are. This is a good thing I’m doing.” Sam stared hard at Albert, a stare that kids in Perdido Beach took seriously. But Albert did not back down. “Sam, how many cantaloupes did Edilio manage to bring back with kids who were rounded up and forced to work?” Albert asked. “Not many,” Sam admitted. “Orc picked a whole truckload of cabbage. Before the zekes figured out how to get at him. Because we paid Orc to work.” “He did it because he’s the world’s youngest alcoholic and you paid him with beer,” Astrid snapped. “I know what you want, Albert. You want to get everything for yourself and be this big, important guy. But you know what? This is a whole new world. We have a chance to make it a better world. It doesn’t have to be about some people getting over on everyone else. It can be fair to everyone.” Albert laughed. “Everyone can be equally hungry. In a week or so, everyone can starve.

Who?” “Bill Judd Jr.” “Oh, noooo.” Round, Swedish oooo’s. “Miz Sweet, when we were going through Judd Sr.’s office, we found some invoices on your computer, for chemicals that were apparently used in an ethanol plant out in South Dakota…” “I heard about it on TV. That was the same one? The one where they were making drugs?” “Yes, it was,” Virgil said. “Oh, nooo.” The sound was driving him crazy; she sounded like a bad comedian. “Who in town knew about the ethanol plant?” She turned her face to one side and put a hand to her lips. “Well, the Judds, of course.” “Both of them?” Virgil asked. “Well…Junior set it up, but Senior knew about it.” He pressed. “Are you sure about that?” “Well, yes. He signed the checks.” “Did you see him signing the checks?” Virgil asked. “No, but I saw the checks. It was his signature…” “Do you remember the bank?” She shook her head. “No, no, I don’t.” She frowned. “I’m not even sure that the bank name was on the checks.” “Did you ever talk to Junior about that?” “No. It wasn’t my business,” she said. “They wanted to keep it quiet, because, you know, when ethanol started, it sounded a little like the Jerusalem artichoke thing. The Judds were involved in that, of course.” “So how quiet did they keep it?” Virgil asked. “Who else knew? Did you tell anybody?” He saw it coming, the noooo. “Oh, noooo…Junior told me, don’t talk about this, because of my father. So, I didn’t.” “Not to anybody?” Her eyes drifted. She was thinking, which meant that she had. “It’s possible…my sister, I might have told. I think there might have been some word around town.” “It’s really important that you remember…” She put her hand to her temple, as though she were going to move a paper clip with telekinesis, and said, “I might have mentioned it at bridge. At our bridge club. That a plant was being built, and some local people were involved.” “All right,” Virgil said. “So who was at the bridge club?” “Well, let me see, there would have been nine or ten of us…” She listed them; he only recognized one of the names. WHEN HE WAS DONE with Sweet, he strolled up the hill to the newspaper office. He pushed in, and found Williamson behind the business counter, talking to a woman customer. Williamson looked past the woman and snapped, “What do you want?” “I have a question, when you’re free.” “Wait.” Williamson was wearing a T-shirt and had sweat stains under his arms, as though he’d been lifting rocks. “Take just a minute.” The customer was trying to dump her Beanie Baby collection locally—ten years too late, in Virgil’s opinion—and wanted the cheapest possible advertisement. She got twenty words for six dollars, looking back and forth between Virgil and Williamson, and after writing a check for the amount, said to Virgil, “I’d love to hear your question.” Virgil looked at her over his sunglasses and grinned: “I’d love to have you, but I’m afraid it’s gotta be private, for the moment.” “Shoot.” She looked at Williamson, who shrugged, and she said, “Oh, well.” WHEN SHE’D GONE out the door, Williamson said, “I’m working. You can ask me out back.” “You still pissed about the search?

To be sure, the minister was well matched to the millionaires in his pews. Fifield insisted that he and his wife always thought of themselves as simple “small-town folks,” but they acclimated easily to their new life of wealth and privilege. Within a year of their arrival, they bought a mansion in an exclusive development on Wilshire Boulevard. “It had been built in the Twenties by a rich oil man for around a million dollars—using imported tile, special wood paneling, Tiffany stained glass windows, silk hand-woven ‘wall paper’ and many such luxuries,” Fifield remembered. “The extensive lawn, colonnade archways, swimming pool and large main rooms on the first of three floors enabled us to entertain visiting speakers, dignitaries and important people from all over the world who could and did assist the church.” The Fifields soon employed a butler, a chauffeur, and a cook, insisting that the household staff was vital in maintaining their “gracious accommodations” during the depths of the Depression. “The traditional image of a clergyman in those days [was] a man who has a hole in the seat of his pants and shoes run over at the heel,” Fifield acknowledged. “It was quite a shock to a lot of people to see a minister driving around in a good car with a chauffeur at the wheel

The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late.

Old people vote. You know who votes in the swing states where this election will be fought? Really old people. Instead of high-profile videos with Cardi B (no disrespect to Cardi, who famously once threatened to dog-walk the egregious Tomi Lahren), maybe focus on registering and reaching more of those old-fart voters in counties in swing states. If your celebrity and music-industry friends want to flood social media with GOTV messages, let them. It makes them feel important and it’s the cheapest outsourcing you can get. Just don’t build your models on the idea that you’re going to spike young voter turnout beyond 20 percent. The problem with chasing the youth vote is threefold: First, they’re unlikely to be registered. You have to devote a lot of work to going out, grabbing them, registering them, educating them, and motivating them to go out and vote. If they were established but less active voters, you’d have voter history and other data to work with. There are lower-effort, lower-cost ways to make this work. Second, they’re not conditioned to vote; that November morning is much more likely to involve regret at not finishing a paper than missing a vote. Third, and finally, a meaningful fraction of the national youth vote overall is located in California. Its gigantic population skews the number, and since the Golden State’s Electoral College outcome is never in doubt, it doesn’t matter. What’s our motto, kids? “The Electoral College is the only game in town.” This year, the Democrats have been racing to win the Free Shit election with young voters by promising to make college “free” (a word that makes any economic conservative lower their glasses, put down the brandy snifter, and arch an eyebrow) and to forgive $1.53 trillion gazillion dollars of student loan debt. Set aside that the rising price of college is what happens to everything subsidized or guaranteed by the government.17 Set aside that those subsidies cause college costs to wildly exceed the rate of inflation across the board, and that it sucks to have $200k in student loan debt for your degree in Intersectional Yodeling. Set aside that the college loan system is run by predatory asswipes. The big miss here is a massive policy disconnect—a student-loan jubilee would be a massive subsidy to white, upper-middle-class people in their mid-thirties to late forties. I’m not saying Democrats shouldn’t try to appeal to young voters on some level, but I want them to have a realistic expectation about just how hard it is to move those numbers in sufficient volume in the key Electoral College states. When I asked one of the smartest electoral modeling brains in the business about this issue, he flooded me with an inbox of spreadsheets and data points. But the key answer he gave me was this: “The EC states in play are mostly old as fuck. If your models assume young voter magic, you’re gonna have a bad day.