Paper Towns Love Quotes

Margo always loved mysteries. And in everything that came afterward, I could never stop thinking that maybe she loved mysteries so much that she became one.

Nothing ever happens like you imagine it will

She loved mysteries so much that she became one.

Those of us who frequent the band room have long suspected that Becca maintains her lovely figure by eating nothing but the souls of kittens and the dreams of impoverished children.

Maybe its like you said before, all of us being cracked open. Like each of us starts out as a watertight vessel. And then things happen - these people leave us, or don’t love us, or don’t get us, or we don’t get them, and we lose and fail and hurt one another. And the vessel starts to crack in places. And I mean, yeah once the vessel cracks open, the end becomes inevitable. Once it starts to rain inside the Osprey, it will never be remodeled. But there is all this time between when the cracks start to open up and when we finally fall apart. And its only that time that we see one another, because we see out of ourselves through our cracks and into others through theirs. When did we see each other face to face? Not until you saw into my cracks and I saw into yours. Before that we were just looking at ideas of each other, like looking at your window shade, but never seeing inside. But once the vessel cracks, the light can get in. The light can get out.

I stand in this parking lot, realizing that I’ve never been this far from home, and here is this girl I love and cannot follow. I hope this is the hero’s errand, because not following her is the hardest thing I’ve ever done.

It's so hard for anyone to show us how we look, and so hard for us to show anyone how we feel

To be abandoned like that! Shut out when you most need to be loved.

When I've thought about him dying - which admittedly isn't that much - I always thought of it like you said, that all strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships think, or maybe we're grass - our roots are so interdependent that no one is dead as long as soneone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you're imagining a world in which you can become irreparably broken. If you choose grass, you're saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications... I like the strings, I always have. Because that's how it feels. But the strings make pain seem more fatal than it is...We are not as frail as the strings would make us believe. And I like the grass, too. The grass got me to you, helped me imagine you as an actual person. But we're not different sprouts from the same plant. I can't be you. You can't be me. You can imagine another well- but not quite perfectly, you know? "Maybe, it's more like you said before, all of us being cracked open. Like each of us starts out as a watertight vessel. And these things happen-these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable...But there is all this time between when the cracks start to open up and when we finally fall apart. And it's only in that time that we can see each other, because we see out of ourselves through our cracks and into others through theirs. When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that we were just looking at ideas of each other, like looking at your window shade but never looking inside. But once the vessel cracks, the like can get in. The like can get out.

I've always been a quitter. I quit the Boy Scouts, the glee club, the marching band. Gave up my paper route, turned my back on the church, stuffed the basketball team. I dropped out of college, sidestepped the army with a 4-F on the grounds of mental instability, went back to school, made a go of it, entered a Ph.D. program in nineteenth-century British literature, sat in the front row, took notes assiduously, bought a pair of horn-rims, and quit on the eve of my comprehensive exams. I got married, separated, divorced. Quit smoking, quit jogging, quit eating red meat. I quit jobs: digging graves, pumping gas, selling insurance, showing pornographic films in an art theater in Boston. When I was nineteen I made frantic love to a pinch-faced, sack-bosomed girl I'd known from high school. She got pregnant. I quit town.

Maybe she loved mysteries so much that she became one

I always got very nervous whenever I heard that Margo was about to show up, on account of how she was the most fantastically gorgeous creature that God has ever created.

She loved so much misteries tha she became one

But there she is, and I am watching her through the Plexiglas, and she looks like Margo Roth Spiegelman, this girl I have known since I was two--this girl who was an idea that I loved.

With all the planning she’d done, she must have known she was leaving, and even she couldn’t have been totally immune to the feeling. She’d had good days here. And on the last day, the bad days become so difficult to recall, because one way or another, she made a life here, just as I had. The town was paper, but the memories were not. All the things I’d done here, all the love and pity and compassion and violence and spite, kept welling up inside me. These whitewashed cinder-block walls. My white walls. Margo’s white walls. We’d been captive in them for so long, stuck in their belly like Jonah.

And on the last day, the bad days become so difficult to recall, because one way or another, she had made a life here, just as I had. The town was paper, but the memories were not. All the things I’d done here, all the love and pity and compassion and violence and spite, kept welling up inside me.

Each of us starts out as a watertight vessel. And these things happen—these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places . . . Once the vessel cracks open, the end becomes inevitable . . . But there is all this time between when the cracks start to open up and when we finally fall apart. And it is only in that time that we can see one another, because we see out of ourselves through our cracks and into others through theirs.

No, I love you. Not like a sister loves a brother or like a friend loves a friend. I love you like a really drunk guy loves the best girl ever

No,I love you.Not like a sister loves a brother or like a friend loves a friend.I love you like a really drunk guy loves the best girl ever.

Margo's beauty was a kind of sealed vessel of perfection--uncracked and uncrackable.

I'm in love with the cities and people I've never met.

Here is this girl I love and cannot follow. I hope this is the hero’s errand, because not following her is the hardest thing I’ve ever done.

I could never stop thinking that maybe she loved mysteries so much that she became one.

The town was paper, but the memories were not. All the things I'd done here, all the love and pity and compassion and violence and spite, kept welling up inside me.

I LOVE YOU. Not like a sister loves a brother or like a friend loves a friend. I LOVE YOU like a really drunk guy loves the best girl ever.

I love driving fast under streetlights.

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!

maintains her lovely figure by eating nothing but the souls of kittens and the dreams of impoverished

For so long, I hadn't really heard Margo - I'd seen her screaming and thought her laughing - that now I figured it was my job. To try, even at this great remove, to hear the opera of her.

Ridin'" [Lana Del Rey] I want to be your object, of your affection Give me all your time, touch, money, and attention [Lana Del Rey] I want to be your object, of your affection Give me all your time, touch, money, and attention Pick me up after school, you can be my baby Maybe we could go somewhere, get a little crazy He’s rich and I’m wishin’, um, he could be my Mister Yum Delicious to the maximum, chew him up like bubble gum Mama’s pretty party favor, he says I’m his favorite flavor [Hook] Uh, uh, catch me ridin’ like a bitch Got the six forty-five, catch me ridin’ with my bitch Uh, long hair, Lana, that’s my bitch Uh, You can tell by the swagger and the lips, uh Uh, uh, catch me ridin’ like a bitch Got the six forty-five, catch me ridin’ with my bitch Uh, long hair, Lana, that’s my bitch Uh, You can tell by the swagger and the lips, uh [Lana Del Rey] You say that I am flawless, true perfection So give me all your drugs, props, money, and connections Pick me up after school, actin’ kinda shady You’re the coolest kid in town, I’m your little lady Your sick and I’m kissin’ him, magical musician, how I’m Drivin’ at the cinema, lovin’ him and lickin’ him He’s my love, the life saver Don’t step on my bad behavior Uh, uh, catch me ridin’ like a bitch Got the six forty-five, catch me ridin’ with my bitch Uh, long hair, Lana, that’s my bitch Uh, You can tell by the swagger and the lips, uh Uh, uh, catch me ridin’ like a bitch Got the six forty-five, catch me ridin’ with my bitch Uh, long hair, Lana, that’s my bitch Uh, You can tell by the swagger and the lips, uh [A$AP Rocky] Swervin’, swervin’, gettin’ all them dimes Tell her I be doin’, I be swaggin’ to my prime This ain’t all the time, it happens all the time That’s a big contradiction, get your money on your mind What, what, tell her I be on a chase Chasin’ for that paper and you see me on that race What, what, tell her I be goin’ first I be gon’ first and they put me in a herse, oh One big room, full of bad bitches, no One big room and it’s full of mad bitches Lana, Lana, tell them what it is Tell ‘em that you doin’ it, you mean to do it big I said, one big room, full of bad bitches, no it’s One big room and it’s full of mad bitches, I said Lana, Lana, tell them what it is Tell ‘em when you do it that you only do it big Uh, uh, catch me ridin’ like a bitch Got the six forty-five, catch me ridin’ with my bitch Uh, long hair, Lana, that’s my bitch Uh, You can tell by the swagger and the lips, uh Uh, uh, catch me ridin’ like a bitch Got the six forty-five, catch me ridin’ with my bitch Uh, long hair, Lana, that’s my bitch Uh, You can tell by the swagger and the lips, uh

You shall no longer take things at second or third hand.... nor look through the eyes of the dead.... nor feed on the spectres in books. I tramp a perpetual journey All goes onward and outward.... and nothing collapses, And to die is different from what any one supposed, and luckier. If no other in the world be aware I sit content, And if each and all be aware I sit content. The final three stanzas of 'Song of Myself" were also highlighted. I bequeath myself to the dirt to grow from the grass I love, If you want me again look for me under your bootsoles. You will hardly know who I am or what I mean, But I shall be good health to your nevertheless, And filter and fibre your blood. Failing to fetch me at first keep encouraged, Missing me one places search another, I stop some where waiting for you It became a weekend of reading, of trying to see her in the fragments of the poem she'd left for me. I could never get anywhere with the lines, but I kepr thinking about them anyway, becase I didn't want to disappoint her. She wanted me to play out with the string, to find the place where she had stopped and was waiting for me, to follow the bread crumb trail until it dead-ended into her.

I love you like a really drunk guy loves the best girl ever.

I felt so detached from all this shit, all this high-school-is-ending-So-we-have-to-reveal-that-deep-down-we-all-love-everybody bullshit.

I love you." "I love you, too,Ben." "No. I love you. Not like a sister loves a brother or like a friend loves a friend. I love you like a really drunk guy loves the best girl ever.

I love people I've never met and places I've never been to.

I stand in this parking lot, realizing that I’ve never been this far from home, and here is this girl I love and cannot follow.

I didn't really look down and think about how everything was made of paper. I was the flimsy-fold able person, not everyone else. And here's the thing about it. People love the idea of a paper girl. They always have. And the worst thing is that I loved it, too. I cultivated it, you know?

Bookstores, invariably, are a refuge. There's one in the town where they live, and the first time Lydia ventures in, it takes her breath away. She has to steady herself against a shelf. The smell of coffee and paper and ink. It's nothing like her little shop back home. It's stocked mostly with religious books, and instead of calendars and toys, they carry rosaries, Buddha figurines, yarmulkes. Still, the upright spines of the books are bedrock. Steady. There's an international poetry section. Hafiz. Heaney. Neruda. Lydia flips past the twenty love poems and reads "The Song of Despair." She reads it desperately, hungrily, bent over the books in the aisle of the quiet shop. Her fingers ready the next page while she devours the words. The book is water in the desert.

She laughed a bit at the simple beauty of it all - the white paper, the elegant arc, the soft green grass; and, beside her, the purple backpack, Grandad's golden straw hat, the sky a pale-blue umbrella embracing the whole town

My dad finished chewing something and then put his fork down and looked at me. 'The longer I do my job,' he said. 'the more I realize that humans lack good mirrors. It's so hard for anyone to show us how we look, and so hard for us to show anyone how we feel.' 'That is really lovely,' my mom said. I liked that they liked each other. 'But isn't it also that on some fundamental level we find it difficult to understand that other people are human beings in the same way that we are? We idealize them as gods or dismiss them as animals.' 'True. Consciousness makes for poor windows, too. I don't think I'd ever thought about it quite that way.

Jesus, why would he hook up with Becca?" "Well, she's not known for her personality or generosity of spirit, so it's probably because she's hot." "She's not as hot as you," I said, before I could think better of it. "That's always seemed so ridiculous to me, that people would want to around someone because they're pretty. It's like picking your breakfast cereals based on color instead of taste.

I looked down and thought about how I was made of paper. I was the flimsy-foldable person, not everyone else. And here’s the thing about it. People love the idea of a paper girl. They always have. And the worst thing is that I loved it, too. I cultivated it, you know.

And in everything that came afterward, I could never stop thinking that maybe she loved mysteries so much that she became one

Maybe she loved mysteries so much she became one

And in everything that came afterward, I could never stop thinking that maybe she loved mysteries so much that she became one.

this girl who was an idea that I loved.

Maybe she loved mysteries so much that she became one .

It's easy to love someone from a distance

I am in love with cities i have never been to and people i have never met! ❣

Becca maintains her lovely figure by eating nothing but the souls of kittens and the dreams of impoverished children.

MS’s love For you: it Sleeps With the Fishes

Maybe she loved mysteries so much that she became one.

All the things I’d done here, all the love and pity and compassion and violence and spite, kept welling up inside me.

She loved so much mysteries that she became one

The year was 1952.” I clear my throat and look down at my paper. “It was summer, and Frank Sinatra was on the radio. Lana Turner and Ava Gardner were the starlets of the day. Stormy was eighteen. She was in the marching band, she was voted Best Legs, and she always had a date on Saturday night. On this particular night, she was on a date with a boy named Walt. On a dare, she went skinny-dipping in the town lake. Stormy never could turn down a dare.” Mr. Perelli laughs and says, “That’s right, she never could.” Other people murmur in agreement, “She never could.” “A farmer called the police, and when they shined their lights on the lake, Stormy told them to turn around before she would come out. She got a ride home in a police car that night.” “Not the first time or the last,” someone calls out, and everyone laughs, and I can feel my shoulders start to relax. “Stormy lived more life in one night than most people do their whole lives. She was a force of nature. She taught me that love--” My eyes well up and I start over. “Stormy taught me that love is about making brave choices every day. That’s what Stormy did. She always picked love; she always picked adventure. To her they were one and the same. And now she’s off on a new adventure, and we wish her well.

Don’t you love that? One of the greatest scientific innovations of all time just came to Townes as he was sitting on a bench in a park. And then he starts “scratching” it out on paper.

To Be the Famous..." To be the famous isn’t attractive, Not this could ever elevate, You needn’t to make your archive active, You needn’t your scripts to be all saved. Self-offering’s aimed by creation, But ballyhoo or cheap success, It is a shame, if worthless persons Are talks of towns’ populace. But you’ve to live without phony, To live such life that, after all, To gain love of the space symphony, And answer to the future’s call, And oft to leave gaps in your traces In fate, but in the papers, crooked, To mark the chapters and main places On margins of your being’s book, To fully sink in the unknown, And hide in it your own steps Like hide itself, if mist is grown, The whole landscape of the place. The others, by the living traces, Will pass your way through, bit by bit, But wins and losses of your battles You have not to discern on it. You’ve never – not by fate or folly – To lose an atom of your face, But – be alive, alive and only, Alive and only, till your last.

The truth is that whenever I went up to the top of the SunTrust Building—including that last time with you—I didn’t really look down and think about how everything was made of paper. I looked down and thought about how I was made of paper. I was the flimsy-foldable person, not everyone else. And here’s the thing about it. People love the idea of a paper girl. They always have. And the worst thing is that I loved it, too. I cultivated it, you know? “Because it’s kind of great, being an idea that everybody likes. But I could never be the idea to myself, not all the way. And Agloe is a place where a paper creation became real. A dot on the map became a real place, more real than the people who created the dot could ever have imagined. I thought maybe the paper cutout of a girl could start becoming real here also. And it seemed like a way to tell that paper girl who cared about popularity and clothes and everything else: ‘You are going to the paper towns. And you are never coming back.

The longer I do my job,” he said, “the more I realize that humans lack good mirrors. It’s so hard for anyone to show us how we look, and so hard for us to show anyone how we feel.” “That is really lovely,” my

I felt so detached from all this shit, all this high-school-is-ending-so-we-have-to-reveal-that-deep-down-we-all-love-everybody bullshit. And I imagined her at this party, or at thousands like this one. The life drawn out of her eyes. I imagined her listening to Chuck Parsons babble at her and thinking about ways out, about the living ways out and the dead ways out. I could imagine the two paths with equal clarity.

Like, each of us starts out as a watertight vessel. And these things happen--these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable... But there is all this time between the cracks start to open up and when we finally fall apart. And it's only in that time that we can see one another because we see out of ourselves through our cracks and into others through theirs... ...But once the vessel cracks, the light can get in. The light can get out.

I knew how she smelled, and I knew how she acted in front of me, and I knew how she acted in front of others, and I knew that she liked Mountain Dew and adventure and dramatic gestures, and I knew that she was funny and smart and just generally more than the rest of us. But I didn’t know what brought her here, or what kept her here, or what made her leave. I didn’t know why she owned thousands of records but never told anyone she even liked music. I didn’t know what she did at night, with the shades down, with the door locked, in the sealed privacy of her room. And maybe this was what I needed to do above all. I needed to discover what Margo was like when she wasn’t being Margo.

Oh well,' said Jack: and then, 'Did you ever meet Bach?' 'Which Bach?' 'London Bach.' 'Not I.' 'I did. He wrote some pieces for my uncle Fisher, and his young man copied them out fair. But they were lost years and years ago, so last time I was in town I went to see whether I could find the originals: the young man has set up on his own, having inherited his master's music-library. We searched through the papers — such a disorder you would hardly credit, and I had always supposed publishers were as neat as bees — we searched for hours, and no uncle's pieces did we find. But the whole point is this: Bach had a father.' 'Heavens, Jack, what things you tell me. Yet upon recollection I seem to have known other men in much the same case.' 'And this father, this old Bach, you understand me, had written piles and piles of musical scores in the pantry.' 'A whimsical place to compose in, perhaps; but then birds sing in trees, do they not? Why not antediluvian Germans in a pantry?' 'I mean the piles were kept in the pantry. Mice and blackbeetles and cook-maids had played Old Harry with some cantatas and a vast great passion according to St Mark, in High Dutch; but lower down all was well, and I brought away several pieces, 'cello for you, fiddle for me, and some for both together. It is strange stuff, fugues and suites of the last age, crabbed and knotted sometimes and not at all in the modern taste, but I do assure you, Stephen, there is meat in it. I have tried this partita in C a good many times, and the argument goes so deep, so close and deep, that I scarcely follow it yet, let alone make it sing. How I should love to hear it played really well — to hear Viotti dashing away.

Martyrs of a sort they were, these children, along with the town drunk, in his basketball sneakers and buttonless overcoat, draining blackberry brandy from a paper bag as he sat on his bench in Kazmierczak Square, risking nightly death by exposure; martyrs too of a sort were the men and women hastening to adulterous trysts, risking disgrace and divorce for their fix of motel love—all sacrificing the outer world to the inner, proclaiming with this priority that everything solid-seeming and substantial is in fact a dream, of less account than a merciful rush of feeling.

Each of us starts out as a watertight vessel. And these things happen—these people leave us, or don’t love us, or don’t get us, or we don’t get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable

Like, each of us starts out as a watertight vessel. And these things happen -- these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable.

Mrs. O’Dowd, the good housewife, arrayed in curl papers and a camisole, felt that her duty was to act, and not to sleep, at this juncture. “Time enough for that,” she said, “when Mick’s gone”; and so she packed his travelling valise ready for the march, brushed his cloak, his cap, and other warlike habiliments, set them out in order for him; and stowed away in the cloak pockets a light package of portable refreshments, and a wicker-covered flask or pocket-pistol, containing near a pint of a remarkably sound Cognac brandy, of which she and the Major approved very much; ... Mrs. O’Dowd woke up her Major, and had as comfortable a cup of coffee prepared for him as any made that morning in Brussels. And who is there will deny that this worthy lady’s preparations betokened affection as much as the fits of tears and hysterics by which more sensitive females exhibited their love, and that their partaking of this coffee, which they drank together while the bugles were sounding the turn-out and the drums beating in the various quarters of the town, was not more useful and to the purpose than the outpouring of any mere sentiment could be? The consequence was, that the Major appeared on parade quite trim, fresh, and alert, his well-shaved rosy countenance, as he sate on horseback, giving cheerfulness and confidence to the whole corps. All the officers saluted her when the regiment marched by the balcony on which this brave woman stood, and waved them a cheer as they passed; and I daresay it was not from want of courage, but from a sense of female delicacy and propriety, that she refrained from leading the gallant--personally into action.

The thing about Margo Roth Spiegelman is that really all I could ever do was let her talk, and then when she stopped talking encourage her to go on, due to the facts that 1. I was incontestably in love with her, and 2. She was absolutely unprecedented in every way, and 3. She never really asked me any questions, so the only way to avoid silence was to keep her talking.

When your mama was the geek, my dreamlets,' Papa would say, 'she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing. "Spread your lips, sweet Lil," they'd cluck, "and show us your choppers!"' This same Crystal Lil, our star-haired mama, sitting snug on the built-in sofa that was Arty's bed at night, would chuckle at the sewing in her lap and shake her head. 'Don't piffle to the children, Al. Those hens ran like whiteheads.' Nights on the road this would be, between shows and towns in some campground or pull-off, with the other vans and trucks and trailers of Binewski's Carnival Fabulon ranged up around us, safe in our portable village. After supper, sitting with full bellies in the lamp glow, we Binewskis were supposed to read and study. But if it rained the story mood would sneak up on Papa. The hiss and tick on the metal of our big living van distracted him from his papers. Rain on a show night was catastrophe. Rain on the road meant talk, which, for Papa, was pure pleasure. 'It's a shame and a pity, Lil,' he'd say, 'that these offspring of yours should only know the slumming summer geeks from Yale.' 'Princeton, dear,' Mama would correct him mildly. 'Randall will be a sophomore this fall. I believe he's our first Princeton boy.' We children would sense our story slipping away to trivia. Arty would nudge me and I'd pipe up with, 'Tell about the time when Mama was the geek!' and Arty and Elly and Iphy and Chick would all slide into line with me on the floor between Papa's chair and Mama. Mama would pretend to be fascinated by her sewing and Papa would tweak his swooping mustache and vibrate his tangled eyebrows, pretending reluctance. 'WellIll . . .' he'd begin, 'it was a long time ago . . .' 'Before we were born!' 'Before . . .' he'd proclaim, waving an arm in his grandest ringmaster style, 'before I even dreamed you, my dreamlets!' 'I was still Lillian Hinchcliff in those days,' mused Mama. 'And when your father spoke to me, which was seldom and reluctantly, he called me "Miss." ' 'Miss!' we would giggle. Papa would whisper to us loudly, as though Mama couldn't hear, 'Terrified! I was so smitten I'd stutter when I tried to talk to her. "M-M-M-Miss . . ." I'd say.' We'd giggle helplessly at the idea of Papa, the GREAT TALKER, so flummoxed. 'I, of course, addressed your father as Mister Binewski.

ref·u·gee noun: a person who flees for refuge or safety We are, each of us, refugees when we flee from burning buildings into the arms of loving families. When we flee from floods and earthquakes to sleep on blue mats in community centres. We are, each of us, refugees when we flee from abusive relationships, and shooters in cinemas and shopping centres. Sometimes it takes only a day for our countries to persecute us because of our creed, race, or sexual orientation. Sometimes it takes only a minute for the missiles to rain down and leave our towns in ruin and destitution. We are, each of us, refugees longing for that amniotic tranquillity dreaming of freedom and safety when fences and barbed wires spring into walled gardens. Lebanese, Sudanese, Libyan and Syrian, Yemeni, Somali, Palestinian, and Ethiopian, like our brothers and sisters, we are, each of us, refugees. The bombs fell in their cafés and squares where once poetry, dancing, and laughter prevailed. Only their olive trees remember music and merriment now as their cities wail for departed children without a funeral. We are, each of us, refugees. Don’t let stamped paper tell you differently. We’ve been fleeing for centuries because to stay means getting bullets in our heads because to stay means being hanged by our necks because to stay means being jailed, raped and left for dead. But we can, each of us, serve as one another’s refuge so we don't board dinghies when we can’t swim so we don’t climb walls with snipers aimed at our chest so we don’t choose to remain and die instead. When home turns into hell, you, too, will run with tears in your eyes screaming rescue me! and then you’ll know for certain: you've always been a refugee.

And on the last day, the bad days become so difficult to recall, because one way or another, she had made a life here, just as I had. The town was paper, but the memories were not. All the things I'd done here, all the love and pity and compassion and violence and spite, kept welling up inside me. These whitewashed cinderblock walls. My white walls. Margo's white walls. We'd been captive in them for so long, stuck in their belly like Jonah.

I wonder what Miss Skeeter would do if she was here and it kind a makes me sad. I know ain’t nobody in town gone sign a book for her and tell her she brave. Ain’t nobody gone tell her they look after her. Then the Reverend hands me a box, wrapped in white paper, tied with light blue ribbon, same colors as the book. He lays his hand on it as a blessing. “This one, this is for the white lady. You tell her we love her, like she’s our own family.

My life began by flickering out. It may sound strange but it is so. From the very first moment I became conscious of myself, I felt that I was already flickering out. I began to flicker out over the writing of official papers at the office; I went on flickering out when I read truths in books which I did not know how to apply in life, when I sat with friends listening to rumours, gossip, jeering, spiteful, cold, and empty chatter, and watching friendships kept up by meetings that were without aim or affection; I was flickering out and wasting my energies with Minna on whom I spent more than half of my income, imagining that I loved her; I was flickering out when I walked idly and dejectedly along Nevsky Avenue among people in raccoon coats and beaver collars – at parties, on reception days, where I was welcomed with open arms as a fairly eligible young man; I was flickering out and wasting my life and mind on trifles moving from town to some country house, and from the country house to Gorokhovaya, fixing the arrival of spring by the fact that lobsters and oysters had appeared in the shops, of autumn and winter by the special visiting days, of summer by the fêtes, and life in general by lazy and comfortable somnolence like the rest. ... Even ambition – what was it wasted on? To order clothes at a famous tailor's? To get an invitation to a famous house? To shake hands with Prince P.? And ambition is the salt of life! Where has it gone to? Either I have not understood this sort of life or it is utterly worthless; but I did not know of a better one. No one showed it to me.

Sam "Snowbow" Archambeau sat on his bunk and finally sharked his thumbnail through the sealed envelope marked, “Do not open until I blast off!” It had been inserted inside an outer envelope that had flown from Amsterdam to Cape Town to Christchurch to McMurdo Station to South Pole Station. As he unfolded the red construction paper inside, Snowbow smiled at the incongruity of a rocket girl using snail mail to communicate her last Earthly message to him. -- from the upcoming novel, MARS COLONY AGATHA: NIKKI RED by Jack Chaucer, 1-1-20

Like each of us starts out as a watertight vessel. And these things happen--these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable. But there is all this time between when the cracks starts to open up and when we finally fall apart. And it's only in that time that we can see one another, because we see out of ourselves through our cracks into others through theirs.

She looks like she has always looked. I don’t know why, but I always thought she would look different. Older. That I would barely recognize her when I finally saw her again. But there she is, and I am watching her through the Plexiglas, and she looks like Margo Roth Spiegelman, this girl I have known since I was two—this girl who was an idea that I loved. And it is only now, when she closes her notebook and places it inside a backpack next to her and then stands up and walks toward us, that I realize that the idea is not only wrong but dangerous. What a treacherous thing it is to believe that a person is more than a person.

March 1898 What a strange dream I had last night! I wandered in the warm streets of a port, in the low quarter of some Barcelona or Marseille. The streets were noisome, with their freshly-heaped piles of ordure outside the doors, in the blue shadows of their high roofs. They all led down towards the sea. The gold-spangled sea, seeming as if it had been polished by the sun, could be seen at the end of each thoroughfare, bristling with yard-arms and luminous masts. The implacable blue of the sky shone brilliantly overhead as I wandered through the long, cool and sombre corridors in the emptiness of a deserted district: a quarter which might almost have been dead, abruptly abandoned by seamen and foreigners. I was alone, subjected to the stares of prostitutes seated at their windows or in the doorways, whose eyes seemed to ransack my very soul. They did not speak to me. Leaning on the sides of tall bay-windows or huddled in doorways, they were silent. Their breasts and arms were bare, bizarrely made up in pink, their eyebrows were darkened, they wore their hair in corkscrew-curls, decorated with paper flowers and metal birds. And they were all exactly alike! They might have been huge marionettes, or tall mannequin dolls left behind in panic - for I divined that some plague, some frightful epidemic brought from the Orient by sailors, had swept through the town and emptied it of its inhabitants. I was alone with these simulacra of love, abandoned by the men on the doorsteps of the brothels. I had already been wandering for hours without being able to find a way out of that miserable quarter, obsessed by the fixed and varnished eyes of all those automata, when I was seized by the sudden thought that all these girls were dead, plague-stricken and putrefied by cholera where they stood, in the solitude, beneath their carmine plaster masks... and my entrails were liquefied by cold. In spite of that harrowing chill, I was drawn closer to a motionless girl. I saw that she was indeed wearing a mask... and the girl in the next doorway was also masked... and all of them were horribly alike under their identical crude colouring... I was alone with the masks, with the masked corpses, worse than the masks... when, all of a sudden, I perceived that beneath the false faces of plaster and cardboard, the eyes of these dead women were alive. Their vitreous eyes were looking at me... I woke up with a cry, for in that moment I had recognised all the women. They all had the eyes of Kranile and Willie, of Willie the mime and Kranile the dancer. Every one of the dead women had Kranile's left eye and Willie's right eye... so that every one of them appeared to be squinting. Am I to be haunted by masks now?

I admitted it to myself. I had all kinds of dreams. I wanted to go skiing again and get fast and good. I wanted to go to London too someday. I wanted to fall in love.i wanted to own a bookstore or a restraunt and have people come in and say, "Hi, Cedar," and I wanted from ride a bike down the streets in a little town in a country where people spoke a different language. Maybe my bike would a basket and maybe the basket would have flowers in it. I wanted to live in a big city and wear lipstick and my hair in bun and buy groceries and carry them home in a paper bag. My high heels would click when I climbed the stairs to my apartment. I wanted to stand at the edge of a lake and listen.

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.

Then he thinks that there should be a place in every town where people could put rescued or found things. Not just objects, but snippets of forgotten languages, or misused time – an hour that can never be lived again. It would be a place where lost faiths could be collected, as well as keys, gloves and love letters never sent. Here you could find extinct animals and old wives’ tales vanished in history; a whole shelf of unfinished songs, discontinued books, deleted texts. It would be a safe for fleeting emotions – the first flush of love, or a particular scent on a sunny day that is never savoured again. Among the dog leads, phones and hats, there would be babies hoped for and lost. All this would be remembered: missed opportunities, mislaid friends, the smile of a wife. It would be a place for lost things.

Like, each of us starts out as a watertight vessel. And these things happen--these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable. (...) But there is all this time between when the cracks start to open up and when we finally fall apart. And it's only in that time that we can see one another, because we see out of ourselves through our cracks and into others through theirs. When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that, we were just looking at ideas of each other, like looking at your windows shade but never seeing inside. But once the vessel cracks, the light can get in. The light can get out.

Then at last, when he could stand it no longer, he would peel back a tiny bit of the paper wrapping at one corner to expose a tiny bit of chocolate, and then he would take a tiny nibble – just enough to allow the lovely sweet taste to spread out slowly over his tongue. The next day, he would take another tiny nibble, and so on, and so on. And in this way, Charlie would make his sixpenny bar of birthday chocolate last him for more than a month. But I haven’t yet told you about the one awful thing that tortured little Charlie, the lover of chocolate, more than anything else. This thing, for him, was far, far worse than seeing slabs of chocolate in the shop windows or watching other children munching bars of creamy chocolate right in front of him. It was the most terrible torturing thing you could imagine, and it was this: In the town itself, actually within sight of the house in which Charlie lived, there was an ENORMOUS CHOCOLATE FACTORY! Just imagine that! And it wasn’t simply an ordinary enormous chocolate factory, either. It was the largest and most famous in the whole world! It was WONKA’S FACTORY, owned by a man called Mr Willy Wonka, the greatest inventor and maker of chocolates that there has ever been. And what a tremendous, marvellous place it was! It had huge iron gates leading into it, and a high wall surrounding it, and smoke belching from its chimneys, and strange whizzing sounds coming from deep inside it. And outside the walls, for half a mile around in every direction, the air was scented with the heavy rich smell of melting chocolate! Twice a day, on his way to and from school, little Charlie Bucket had to walk right past the gates of the factory. And every time he went by, he would begin to walk very, very slowly, and he would hold his nose high in the air and take long deep sniffs of the gorgeous chocolatey smell all around him. Oh, how he loved that smell! And oh, how he wished he could go inside the factory and see what it was like!

But all of these hours were strained by fear, as if fear were a brooding specter, or a strange, lost bird trapped in our little town, whose sooty wing flecked every living thing with a shadow that would never wash. I didn’t know what I was afraid of, nor why I worried so much, nor why this thing that could so easily cause panic felt like hope sometimes and, like hope in the darkest moments, brought such joy, unreal joy, joy with a noose tied around it. The thud my heart gave when I saw him unannounced both terrified and thrilled me. I was afraid when he showed up, afraid when he failed to, afraid when he looked at me, more frightened yet when he didn’t. The agony wore me out in the end, and, on scalding afternoons, I’d simply give out and fall asleep on the living room sofa and, though still dreaming, know exactly who was in the room, who had tiptoed in and out, who was standing there, who was looking at me and for how long, who was trying to pick out today’s paper while making the least rustling sound, only to give up and look for tonight’s film listings whether they woke me or not.

Unlike Kate, by then I’d had a job. In fact, I’d had sixteen jobs, not including the years I worked as a babysitter before I could legally be anyone’s employee. They were janitor’s assistant (humiliatingly, at my high school), fast-food restaurant worker, laborer at a wildlife refuge, administrative assistant to a Realtor, English as a Second Language tutor, lemonade cart attendant, small town newspaper reporter, canvasser for a lefty nonprofit, waitress at a Japanese restaurant, volunteer coordinator for a reproductive rights organization, berry picker on a farm, waitress at a vegetarian restaurant, “coffee girl” at an accounting firm, student-faculty conflict mediator, teacher’s assistant for a women’s studies class, and office temp at a half a dozen places that by and large did not resemble offices and did not engage me in work that struck me as remotely “officey,” but rather involved things such as standing on a concrete floor wearing a hairnet, a paper mask and gown, goggles, and plastic gloves and—with a pair of tweezers—placing two pipe cleaners into a sterile box that came to me down a slow conveyor belt for eight excruciating hours a day.

When we were in New York, you cried for two days and passed out. You said a word in your sleep, over and over. Akinli.” Elizabeth stared down at the drawing. “At first I thought it was gibberish. And then I thought it was the name of a town or a building. . . . I didn’t figure out it belonged to a person until you made that.” Elizabeth pointed down to the paper, worn from being folded and unfolded who knew how many times. “When Elizabeth came to me, I had to tell her the truth, and we decided to find him. You gave us the name of the town. We went there looking for someone answering to that name, fitting this image.” Miaka smiled ruefully. “Very small town. It wasn’t hard.” Tears pooled in my eyes. “You’ve really seen him?” They both nodded. I thought about all those trips they had taken, making up ridiculous stories so they could get to him without me knowing. “How is he?” I asked, unable to contain my curiosity. “Is he okay? Has he gone back to school? Is he still with Ben and Julie? Is he happy? Could you tell? Is he happy?” The questions tumbled out without me being able to hold them in. I was desperate to know. I felt a single word would put my soul at ease. Elizabeth swallowed hard. “That’s the thing, Kahlen. We’re afraid he’s dying.

When I've thought about him dying - which admittedly isn't that much - I always thought of it like you said, that all strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships think, or maybe we're grass - our roots are so interdependent that no one is dead as long as soneone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you're imagining a world in which you can become irreparably broken. If you choose grass, you're saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications... I like the strings, I always have. Because that's how it feels. But the strings make pain seem more fatal than it is...We are not as frail as the strings would make us believe. And I like the grass, too. The grass got me to you, helped me imagine you as an actual person. But we're not different sprouts from the same plant. I can't be you. You can't be me. You can imagine another well- but not quite perfectly, you know? "Maybe, it's more like you said before, all of us being cracked open. Like each of us starts out as a watertight vessel. And these things happen-these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable...But there is all this time between when the cracks start to open up and when we finally fall apart. And it's only in that time that we can see each other, because we see out of ourselves through our cracks and into others through theirs. When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that we were just looking at ideas of each other, like looking at your window shade but never looking inside. But once the vessel cracks, the light can get in. The light can get out.

THE PARTY And at last the police are at the front door, summoned by a neighbor because of the noise, two large cops asking Peter, who had signed the rental agreement, to end the party. Our peace can’t be disturbed, one of the officers states. But when we receive a complaint we act on it. The police on the front stoop wear as their shoulder patch an artist’s palette, since the town likes to think of itself as an art colony, and indeed, Pacific Coast Highway two blocks inland, which serves as the main north-south street, is lined with commercial galleries featuring paintings of the surf by moonlight —like this night, but without anybody on the sand and with a bigger moon. And now Dennis, as at every party once the police arrive at the door, moves through the dancers, the drinkers, the talkers, to confront the uniforms and guns, to object, he says, to their attempt to stop people harmlessly enjoying themselves, and to argue it isn’t even 1 a.m. Then Stuart, as usual, pushes his way to the discussion happening at the door and in his drunken manner tries to justify to the cops Dennis’ attitude, believing he can explain things better to authority, which of course annoys Dennis, and soon those two are disputing with each other, tonight exasperating Peter, whose sole aim is to get the officers to leave before they are provoked enough to demand to enter to check ID or something, and maybe smell the pot and somebody ends up arrested with word getting back to the landlord and having the lease or whatever Peter had signed cancelled, and all staying here evicted. The Stones, or Janis, are on the stereo now, as the police stand firm like time, like death—You have to shut it down—as the dancing inside continues, the dancers forgetting for a moment a low mark on a quiz, or their draft status, or a paper due Monday, or how to end the war in Asia, or some of their poems rejected by a magazine, or the situation in Watts or of Chavez’s farmworkers, or that they wish they had asked Erin rather than Joan to dance. That dancing, that music, the party, even after the cops leave with their warning Don’t make us come back continues, the dancing has lasted for years, decades, across a new century, through the fear of nuclear obliteration, the great fires, fierce rain, Main Beach and Forest Avenue flooded, war after war, love after love, that dancing goes on, the dancing, the party, the night, the dancing

Boy Lost Picture a sunset in a small port town by the sea. Two teenaged boys sitting on the docks watching the ships as they fly across the water. One reaches out and takes the other’s hand. In this brush of skin for skin, a thousand unspoken promises erupt between them, and both are determined to keep them. This is what youth is. The sheer belief that you will be able to keep every promise you made to someone else. That you will be able to love someone into a forever when you do not even understand what forever means. An evening spent in the headiness of love, they go back to their respective homes. One boy helps his mother with cooking and cleaning and looking after his little sister. His father is a good man, a sailor who brings home with him meagre wages, but a heart full of love and a quicksilver tongue that tells stories of faraway lands to enthral them all. But this boy, despite his blessings, is not happy. He may have been blessed with a loving family, but that faraway look is made of unrest and wanderlust, something about him says fae, changeling, wearing the skin of a boy who was always destined to fly, to leave.   The other boy returns home to a father who drinks and a mother who works so hard that she is never there. He is the unwanted creature in this home, a beating waiting for him at every corner. His father’s temper is a beast so powerful that a boy made of paper bones barely held together cannot fight him. He hides in his room. He lives for a boy at sunset, hope made into a human being. Now picture this. This boy of paper bones alone at the docks the next sunset. And this boy alone on the docks again on a rainy day. And this boy alone on the docks every day after, waiting for someone who promised him forevers he never intended to keep. This boy becoming a man, a heart wounded so young in youth that it never quite healed right. Imagine him becoming a sailor, searching land after land for a boy he once loved, thinking he was hurt, or stolen, just needing to know what happened to him. Now see him finally finding out that the boy he loved in his boyhood ran away to a magical land where he never grew up. That without a second glance, he just forgot every promise of forever. Imagine his rage, that ancient pain turning to a terrible anger and escaping from the forgotten attic of his mangled heart. Think of what happens when immense love turns into immense hate. An anger so intense it cannot be controlled. What he would give up to avenge the boy he once was, paper-boned, standing on the docks, broken without a single person to love him, simply all alone. A hand is a small price to pay for a magical ship that will take him to Neverland, a place that lives on a star. Becoming a villain called Captain Hook is a small exchange to show Peter Pan that you cannot throw away love and think you will get away unscarred.

They're really going to mash the world up this time, the damn fools. When I read that description of the victims of Nagasaki I was sick: "And we saw what first looked like lizards crawling up the hill, croaking. It got lighter and we could see that it was humans, their skin burned off, and their bodies broken where they had been thrown against something." Sounds like something out of a horror story. God save us from doing that again. For the United States did that. Our guilt. My country. No, never again. And then one reads in the papers "Second bomb blast in Nevada bigger than the first! " What obsession do men have for destruction and murder? Why do we electrocute men for murdering an individual and then pin a purple heart on them for mass slaughter of someone arbitrarily labeled "enemy?" Weren't the Russians communists when they helped us slap down the Germans? And now. What could we do with the Russian nation if we bombed it to bits? How could we "rule" such a mass of foreign people - - - we, who don't even speak the Russian language? How could we control them under our "democratic" system, we, who even now are losing that precious commodity, freedom of speech? (Mr. Crockett," that dear man, was questioned by the town board. A supposedly "enlightened" community. All he is is a pacifist. That, it seems, is a crime.) Why do we send the pride of our young men overseas to be massacred for three dirty miles of nothing but earth? Korea was never divided into "North" and "South." They are one people; and our democracy is of no use to those who have not been educated to it. Freedom is not of use to those who do not know how to employ it. When I think of that little girl on the farm talking about her brother - "And he said all they can think of over there is killing those God-damn Koreans." What does she know of war? Of lizard-like humans crawling up a hillside? All she knows is movies and school room gossip. Oh, America's young, strong. So is Russia. And how they can think of atom-bombing each other, I don't know. What will be left? War will come some day now, with all the hothead leaders and articles "What If Women are Drafted?" Hell, I'd sooner be a citizen of Africa than see America mashed and bloody and making a fool of herself. This country has a lot, but we're not always right and pure. And what of the veterans of the first and second world wars? The maimed, the crippled. What good their lives? Nothing. They rot in the hospitals, and we forget them. I could love a Russian boy - and live with him. It's the living, the eating, the sleeping that everyone needs. Ideas don't matter so much after all. My three best friends are Catholic. I can't see their beliefs, but I can see the things they love to do on earth. When you come right down to it, I do believe in the freedom of the individual - but to kill off all the ones who could forge a strong nation? How foolish! Of what good - living and freedom without home, without family, without all that makes life?

{Excerpt from a message from one of the Cherokee chiefs - Onitositaii, commonly known as Old Tassle} ... 'If, therefore, a bare march, or reconnoitering a country is sufficient reason to ground a claim to it, we shall insist upon transposing the demand, and your relinquishing your settlements on the western waters and removing one hundred miles back towards the east, whither some of our warriors advanced against you in the course of last year's campaign. Let us examine the facts of your present eruption into our country, and we shall discover your pretentions on that ground. What did you do? You marched into our territories with a superior force; our vigilance gave us no timely notice of your manouvres [sic]; your numbers far exceeded us, and we fled to the stronghold of our extensive woods, there to secure our women and children. Thus, you marched into our towns; they were left to your mercy; you killed a few scattered and defenseless individuals, spread fire and desolation wherever you pleased, and returned again to your own habitations. If you meant this, indeed, as a conquest you omitted the most essential point; you should have fortified the junction of the Holstein and Tennessee rivers, and have thereby conquered all the waters above you. But, as all are fair advantages during the existence of a state of war, it is now too late for us to suffer for your mishap of generalship! Again, were we to inquire by what law or authority you set up a claim, I answer, none! Your laws extend not into our country, nor ever did. You talk of the law of nature and the law of nations, and they are both against you. Indeed, much has been advanced on the want of what you term civilization among the Indians; and many proposals have been made to us to adopt your laws, your religion, your manners, and your customs. But, we confess that we do not yet see the propriety, or practicability of such a reformation, and should be better pleased with beholding the good effect of these doctrines in your own practices than with hearing you talk about them, or reading your papers to us upon such subjects. You say: Why do not the Indians till the ground and live as we do? May we not, with equal propriety, ask, Why the white people do not hunt and live as we do? You profess to think it no injustice to warn us not to kill our deer and other game for the mere love of waste; but it is very criminal in our young men if they chance to kill a cow or a hog for their sustenance when they happen to be in your lands. We wish, however, to be at peace with you, and to do as we would be done by. We do not quarrel with you for killing an occasional buffalo, bear or deer on our lands when you need one to eat; but you go much farther; your people hunt to gain a livelihood by it; they kill all our game; our young men resent the injury, and it is followed by bloodshed and war. This is not a mere affected injury; it is a grievance which we equitably complain of and it demands a permanent redress. The Great God of Nature has placed us in different situations. It is true that he has endowed you with many superior advantages; but he has not created us to be your slaves. We are a separate people! He has given each their lands, under distinct considerations and circumstances: he has stocked yours with cows, ours with buffaloe; yours with hogs, ours with bear; yours with sheep, ours with deer. He has indeed given you an advantage in this, that your cattle are tame and domestic while ours are wild and demand not only a larger space for range, but art to hunt and kill them; they are, nevertheless, as much our property as other animals are yours, and ought not to be taken away without consent, or for something equivalent.' Those were the words of the Indians. But they were no binding on these whites, who were living beyond words, claims ...

Danny’s mother, Kate Helen Branch, had been the love of Burley Coulter’s life. They were careless lovers, those two, and Danny came as a surprise—albeit a far greater surprise to Burley than to Kate Helen. Danny was born to his mother’s name, a certified branch of the Branches, and he grew up in the care of his mother and his mother’s mother in a small tin-roofed, paper-sided house on an abandoned corner of Thad Spellman’s farm, not far from town by a shortcut up through the woods. As the sole child in that womanly household,

In an attic somewhere I have a newspaper given to me by my mother. She saved it when World War II ended. In large, six-inch type the paper’s headline declares, “PEACE.” When the word spread in her Tennessee town that the dying was over, she told me, the people poured out of their homes and businesses to dance in the streets. My mom danced in the streets! Now, that must have been something, because she was raised an old-school Methodist, and they just didn’t do that sort of thing. The explanation is easy. When there was life and peace after so much dying, spontaneous joy had to flow. Overflowing, wondrous, beautiful joy always flows when a war is over.

To My Missus She plays with me when not at work, She rumples my hair; I romp among the papers which She's just arranged with care. A tease I am, yet, all the same, She loves to have me there. My Missus spoils me, you may think, I make a dreadful noise, The floor that we walk upon Is covered with my toys, Yet all the same, she says to me, I am her best of joys. My Missus takes me "Walkies," too; I love to go to town. 'Tis I who always comfort her, And lick away her frown. Yet, all the same, she is to me My queen without a crown. I love to hear her charming voice, That calls me by my name. I'm only a little bow-wow; Patch is my doggie name. She can be very strict, but still I love her all the same.

First things first. Let’s bone up on history. If men had wanted to stay bad forever, they could have, agreed? Agreed. Did we stay out in the fields with the beasts? No. In the water with the barracuda? No. Somewhere we let go of the hot gorilla’s paw. Somewhere we turned in our carnivore’s teeth and started chewing blades of grass. We been working mulch as much as blood, into our philosophy, for quite a few lifetimes. Since then we measure ourselves up the scale from apes, but not half so high as angels. It was a nice new idea and we were afraid we’d lose it, so we put it on paper and built buildings like this one around it. And we been going in and out of these buildings chewing it over, that one new sweet blade of grass, trying to figure how it all started, when we made the move, when we decided to be different. I suppose one night hundreds of thousands of years ago in a cave by a night fire when one of those shaggy men wakened to gaze over the banked coals at his woman, his children, and thought of their being cold, dead, gone forever. Then he must have wept. And he put out his hand in the night to the woman who must die some day and to the children who must follow her. And for a little bit next morning, he treated them somewhat better, for he saw that they, like himself, had the seed of night in them. He felt that seed like slime in his pulse, splitting, making more against the day they would multiply his body into darkness. So that man, the first one, knew what we know now: our hour is short, eternity is long. With this knowledge came pity and mercy, so we spared others for the later, more intricate, more mysterious benefits of love. “So, in sum, what are we? We are the creatures that know and know too much. That leaves us with such a burden again we have a choice, to laugh or cry. No other animal does either. We do both, depending on the season and the need. Somehow, I feel the carnival watches, to see which we’re doing and how and why, and moves in on us when it feels we’re ripe.

SHREK Written by William Steig & Ted Elliott SHREK Once upon a time there was a lovely princess. But she had an enchantment upon her of a fearful sort which could only be broken by love's first kiss. She was locked away in a castle guarded by a terrible fire-breathing dragon. Many brave knights had attempted to free her from this dreadful prison, but non prevailed. She waited in the dragon's keep in the highest room of the tallest tower for her true love and true love's first kiss. (laughs) Like that's ever gonna happen. What a load of - (toilet flush) Allstar - by Smashmouth begins to play. Shrek goes about his day. While in a nearby town, the villagers get together to go after the ogre. NIGHT - NEAR SHREK'S HOME MAN1 Think it's in there? MAN2 All right. Let's get it! MAN1 Whoa. Hold on. Do you know what that thing can do to you? MAN3 Yeah, it'll grind your bones for it's bread. Shrek sneaks up behind them and laughs. SHREK Yes, well, actually, that would be a giant. Now, ogres, oh they're much worse. They'll make a suit from your freshly peeled skin. MEN No! SHREK They'll shave your liver. Squeeze the jelly from your eyes! Actually, it's quite good on toast. MAN1 Back! Back, beast! Back! I warn ya! (waves the torch at Shrek.) Shrek calmly licks his fingers and extinguishes the torch. The men shrink back away from him. Shrek roars very loudly and long and his breath extinguishes all the remaining torches until the men are in the dark. SHREK This is the part where you run away. (The men scramble to get away. He laughs.) And stay out! (looks down and picks up a piece of paper. Reads.) "Wanted. Fairy tale creatures."(He sighs and throws the paper over his shoulder.)

George, who are you seeing these days?” “Well, let’s see. I’ve been dating around, you might call it. There’s a visiting professor at the college I see when she’s in town. She travels quite a lot. And a neighbor lady and I like to have dinner in the city. She writes an ‘about town’ column for the paper and we enjoy some of the best restaurants, all on her tab, but that’s not the best part about her. There’s a waitress in Tacoma I like, a music teacher out on Bainbridge Island and a professor of veterinary medicine. She’s the most trouble and I think I like her best.” Noah’s eyes were round. He swallowed. “You’re seeing five women?” “Well, on and off. Each one of them is completely irresistible in her own way.” “Don’t any of them want more of you than an occasional date? Like a serious relationship?” George sighed and looked upward. “I’m not opposed to the idea of marrying again, Noah. But, as of this moment, the only woman I’m seeing I would consider is the vet, Sharon. But she’s forty-four. I think that might be a tad risky, don’t you?” Then he grinned. “Although we do jog together on Sunday mornings. She’s keeping up very well.” Noah burst out laughing. This was what he loved about George and always had—he was so unafraid to live life. He held nothing back. “They used to call men like you rogues,” Noah said. “Not men like me,” he protested. “I care very much for these ladies. They are, each one, wonderful women. I treat them with genuine affection and respect.” Noah

But it isn’t the fun of DIY invention, urban exploration, physical danger, and civil disorder that the Z-Boys enjoyed in 1976. It is fun within serious limits, and for all of its thrills it is (by contrast) scripted. And rather obedient. The fact that there are public skateparks and high-performance skateboards signals progress: America has embraced this sport, as it did bicycles in the nineteenth century. Towns want to make skating safe and acceptable. The economy has more opportunity to grow. America is better off for all of this. Yet such government and commercial intervention in a sport that was born of radical liberty means that the fun itself has changed; it has become mediated. For the skaters who take pride in their flashy store-bought equipment have already missed the Z-Boys’ joke: Skating is a guerrilla activity. It’s the fun of beating, not supporting, the system. P. T. Barnum said it himself: all of business is humbug. How else could business turn a profit, if it didn’t trick you with advertising? If it didn’t hook you with its product? This particular brand of humbug was perfected in the late 1960s, when merchandise was developed and marketed and sold to make Americans feel like rebels. Now, as then, customers always pay for this privilege, and purveyors keep it safe (and generally clean) to curb their liability. They can’t afford customers taking real risks. Plus it’s bad for business to encourage real rebellion. And yet, marketers know Americans love fun—they have known this for centuries. And they know that Americans, especially kids, crave autonomy and participation, so they simulate the DIY experience at franchises like the Build-A-Bear “workshops,” where kids construct teddy bears from limited options, or “DIY” restaurants, where customers pay to grill their own steaks, fry their own pancakes, make their own Bloody Marys. These pay-to-play stores and restaurants are, in a sense, more active, more “fun,” than their traditional competition: that’s their big selling point. But in both cases (as Barnum knew) the joke is still on you: the personalized bear is a standardized mishmash, the personalized food is often inedible. As Las Vegas knows, the house always wins. In the history of radical American fun, pleasure comes from resistance, risk, and participation—the same virtues celebrated in the “Port Huron Statement” and the Digger Papers, in the flapper’s slang and the Pinkster Ode. In the history of commercial amusement, most pleasures for sale are by necessity passive. They curtail creativity and they limit participation (as they do, say, in a laser-tag arena) to a narrow range of calculated surprises, often amplified by dazzling technology. To this extent, TV and computer screens, from the tiny to the colossal, have become the scourge of American fun. The ubiquity of TV screens in public spaces (even in taxicabs and elevators) shows that such viewing isn’t amusement at all but rather an aggressive, ubiquitous distraction. Although a punky insurgency of heedless satire has stung the airwaves in recent decades—from equal-opportunity offenders like The Simpsons and South Park to Comedy Central’s rabble-rousing pundits, Jon Stewart and Stephen Colbert—the prevailing “fun” of commercial amusement puts minimal demands on citizens, besides their time and money. TV’s inherent ease seems to be its appeal, but it also sends a sobering, Jumbotron-sized message about the health of the public sphere.

Margo always loved mysteries. And in everything that came afterwards, I could never stop thinking that maybe she loved mysteries so much that she became one.

It is said there are only two stories—a man goes on a journey, or a stranger comes to town; they are both here in mine. I took a journey, and Carolyn came to town. We were at Sea Song. I was washing dishes, Anthony was running on the beach, and John was reading the paper when she walked out of the bedroom, blonde and ten stories high, in a white cotton nightgown with eyelet trim. She walked across the living room and put a hand on my shoulder. She seemed to know me. “Hi, I’m Carolyn. You must be Carole. I forgot a toothbrush. Do you have one I can use?” Her eyes were as big as quarters and blue like a swimming pool and she spoke softly, almost whispering. I thought later, she didn’t want to scare me away. I was wearing red-denim shorts and a white T-shirt tucked in. I remember this because she teased me about it for years. “You should have seen Carole when I met her, this sweet little thing, with her belted shorts and tucked-in shirt.” She told anyone who would listen. We had a story, like an old couple, about how we met, and she loved this part. “What was wrong with wearing a belt?” “Lamb, no one was wearing belted shorts, and red! I thought, ‘Oh, my God, who is this little one?’ ” She made me believe I was captivating

Whatever one talked to him about he always brought it round to the same subject: that life was dull and stifling in the town; that the townspeople had no lofty interests, but lived a dingy, meaningless life, diversified by violence, coarse profligacy, and hypocrisy; that scoundrels were well fed and clothed, while honest men lived from hand to mouth; that they needed schools, a progressive local paper, a theatre, public lectures, the co-ordination of the intellectual elements; that society must see its failings and be horrified. In his criticisms of people he laid on the colours thick, using only black and white, and no fine shades; mankind was divided for him into honest men and scoundrels: there was nothing in between. He always spoke with passion and enthusiasm of women and of love, but he had never been in love.