Parade Of Characters Quotes

Never allow anyone to rain on your parade and thus cast a pall of gloom and defeat on the entire day. Remember that no talent, no self-denial, no brains, no character, are required to set up in the fault-finding business. Nothing external can have any power over you unless you permit it. Your time is too precious to be sacrificed in wasted days combating the menial forces of hate, jealously, and envy.

That's all right! That's all right!' But for a minute or two it wasn't really. All feminine claws, he said to himself, are sheathed in velvet; but they can hurt a good deal if they touch you on the sore places of the defects of your qualities - even merely with the velvet. He added: 'Your mother works you very hard.

She was not a woman to be deterred by hatred: not from her workers, not from her rivals, not from the men she bullied, bribed or blackmailed to get her way. It is when they truly hate you, after all, that you know you have won. So she met the seething dislike with effortless superiority, paraded past with her shoulders back and chin high. If she was to be cast as the villain, so be it. They were always the most interesting characters anyway.

I fantasize about killing people all the time. I think about how easy it would be. What if I just started showing up to Kitan rallies with an I-beam? Knock down the capitol building, force them to pass Universal Health Care, stuff aevery Ayn Rand fanatic into a big mason jar and hurl them into the sun. I could do it, you know. I really could. And then there's these people with their fucking sneers going 'You're a monster! You're a thug! You kill people!' No fucking shit I kill people!! I put holes in mountains! I break shit constantly without even trying! I saved the world on no less than seven fucking occasions, and guess what, super-accuracy is not one of my anomalies! Am I supposed to be impressed that you've never killed anybody? What a bold moral choice from a person who's terrified of violence and scared shitless of going to jail! It's like, have you ever had the option of murdering a bunch of people!? Okay, then why the fuck am I listening to your opinion on the matter!? Every day I don't kill a thousand fucking people, they should throw me a god-damned tickertape parade!

Within the history of lesbianism from the archaic Greek poet Sappho from the Isle of Lesbos, who is the symbol of lust, passion and sensuality between women, to Sister Benedetta Carlini’s deeply erotic love affair with another nun, to the 10th century Arab erotic work, Encyclopedia of Pleasure, which gives the account of a love affair between a Christian and an Arab woman, to modern day same-sex marriages and Pride parades, there is certainly place for Anne Bonny and Mary Read.

Only small men parade their learning, talk over their audience and air their superior knowledge. Only brutal men throw their strength about, and vain rich men display their wealth in ostentatious useless luxuries.

What fascinates me in dreams is the idea that they emanate from our subconscious. I think that there are many possibilities to interpret dreams but a great deal of mystery always remains. When a dream is explained to us, it’s necessary to know the personal context of the subject. For example, what his childhood was like, his adolescence, his interpersonal relations. You’ve got to understand all these elements in order to tally up the dream and to decode it. At the cinema, that can’t happen because the approach demands the introduction of too many elements. In order for viewers to identify with this dream, I chose a parade which makes one think automatically of other common dreams and unconscious states. There are very old characters like objects that are discarded by people today or religious symbols that people have forgotten. I think that even nowadays, people have forgotten the importance of dreams.

For several years now, Kipling had been sprinkling his prose and poetry with anti-German barbs. He believed this war would do “untold good” for his beloved British tommies, preparing them for the inevitable clash with Germany. The Boer War, said a character in a story he wrote at the time, was “a first-class dress-parade for Armageddon.

Put the bad poetry in the mouths of outlandish characters. It might make bad poetry funny instead of sad.

American actors are taught to have objectives—what does your character want from the other character? That is business. When I deal with other people, I don’t want something from them; I want a rapport. Some people say that’s an objective—it’s not—it’s a sensation of well-being. Life is not constantly about wanting to get something from somebody else. Life is about pleasure.” I hope, dear Irene, that you are in a sensation of well-being

Olmsted’s greatest concern, however, was that the main, Jackson Park portion of the exposition simply was not fun. “There is too much appearance of an impatient and tired doing of sight-seeing duty. A stint to be got through before it is time to go home. The crowd has a melancholy air in this respect, and strenuous measures should be taken to overcome it.” Just as Olmsted sought to conjure an aura of mystery in his landscape, so here he urged the engineering of seemingly accidental moments of charm. The concerts and parades were helpful but were of too “stated or programmed” a nature. What Olmsted wanted were “minor incidents … of a less evidently prepared character; less formal, more apparently spontaneous and incidental.” He envisioned French horn players on the Wooded Island, their music drifting across the waters. He wanted Chinese lanterns strung from boats and bridges alike. “Why not skipping and dancing masqueraders with tambourines, such as one sees in Italy? Even lemonade peddlers would help if moving about in picturesque dresses; or cake-sellers, appearing as cooks, with flat cap, and in spotless white from top to toe?” On nights when big events in Jackson Park drew visitors away from the Midway, “could not several of the many varieties of ‘heathen,’ black, white and yellow, be cheaply hired to mingle, unobtrusively, but in full native costume, with the crowd on the Main Court?

It is when they truly hate you, after all, that you know you have won. So she met the seething dislike with effortless superiority, paraded past with her shoulders back and chin high. If she was to be cast as the villain, so be it. They were always the most interesting characters anyway.

What happened was, they put me and my co-marshal, author Ridley Pearson, into an antique fire truck along with Daisy Duck and Clarabelle the Cow. I have nothing against either of these veteran Disney characters, but let's be honest, their careers are not currently sizzling, especially in the case of Clarabelle, who hasn't had a hit cartoon since roughly the Civil War.

In any case, the time has come when I must start a new book. This is not a trivial matter. Characters parade before me; some I like and admire, others I find not useful. The ones I use become very real, and many stay with me always: Cugel, Madouc, Navarth the Mad Poet, Howard Alan Treesong and Wayness Tamm, for instance. Beside characters to be interviewed, there are a dozen concepts to be pieced together, a locale selected, perhaps a whole new way of life to be studied and evaluated; and every story has, or should have, a mood: the connective tissue which holds the story together. In this regard some writers are adroit, others don't have a clue.

Sound common sense, a resistance to all dreamy enthusiasm, perhaps also the strength of individual feeling that endows the personality and hence, probably, the individual’s whole character with the stamp of complete reality—these may well have been among the forces that swelled the tide of reaction.19 To this we might add the envy of a man without full rights of citizenship, a proletarian, a man upon whom fate had bestowed but little beauty, and who at best could only climb to the heights by demolishing the values of others. This was especially characteristic of the Cynic, who must forever be carping at others, and to whom nothing was sacred if it happened to belong to somebody else; he even had no compunction about destroying the peace of the home if he might seize an occasion to parade his invaluable advice.

Consciousness is not the product of a special network that enables all of our mental events to be conscious. Instead, each mental event is managed by brain modules that possess the capacity to make us conscious of the results of their processing. The results bubble up from various modules like bubbles in a boiling pot of water. Bubble after bubble, each the end result of a module’s or a group of modules’ processing, pops up and bursts forth for a moment, only to be replaced by others in a constant dynamic motion. Those single bursts of processing parade one after another, seamlessly linked by time. (This metaphor is limited to bubbles roiling up at a rate of twelve frames a second or faster; or consider a cartoon flip book, where the faster we snap the pages, the more continuous the movements of the characters appear.)

Second, it is imperative that we remind ourselves how innovative philosophical pluralism is. When Machen confronted the impact of modernism on Christianity, his driving point was that the liberalism of his day, whatever it was, was not Christianity at all, even though that was the way it paraded itself.116 At least he recognized what was at stake, and addressed the fundamental issues. Today we must recognize that philosophical pluralism is not only non-Christian (though some Western pluralists think of themselves as Christians), but that the nature of the relativism it spawns and the worldliness that it engenders are in some respects qualitatively new, and must be addressed in fresh terms. Many generations have recognized how difficult it is for finite and sinful mortals to come to close agreement as to the objective truth of this or that subject, but this is the first generation to believe that there is no objective truth out there, or that if there is, there is no access to it. This necessarily changes the character of at least some of the debate.

Praise for THIS TENDER LAND “If you liked Where the Crawdads Sing, you’ll love This Tender Land by best-selling author William Kent Krueger. This story is as big-hearted as they come.” —Parade Magazine “If you’re among the millions who raced through Where the Crawdads Sing this year and are looking for another expansive, atmospheric American saga, look to the latest from Krueger.” —Entertainment Weekly “Rich with graceful writing and endearing characters… this is a book for the ages.” —The Denver Post “There are very few books (or movies, for that matter) that you can describe as ‘epic.’ But This Tender Land is just that.… This story will make you look at the world from a variety of viewpoints, as you watch these lost souls befriend one another in order to form their own unbreakable family unit.” —Suspense Magazine “[The characters’] adventures are heartstirring and their view of our complex nation, in particular the upper Midwest, is encyclopedic, if an encyclopedia could stir your heart as well as your brain.” —Sullivan County Democrat “Reminiscent of Huck and Jim and their trip down the Mississippi, the bedraggled youngsters encounter remarkable characters and learn life lessons as they escape by canoe down the Gilead River in Minnesota.” —Bookpage “Long, sprawling, and utterly captivating, readers will eat up every delicious word of it.” —New York Journal of Books “Krueger has crafted an American saga, epic in scope, a glorious and grand adventure that speaks of the heart and history of this country.” —Addison Independent (Vermont) “More than a simple journey; it is a deeply satisfying odyssey, a quest in search of self and home. Richly imagined and exceptionally well plotted and written, the novel is, most of all, a compelling, often haunting story that will captivate both adult and young adult readers.” —Booklist “Absorbing and wonderfully paced, this fictional narrative set against historical truths mesmerizes the reader with its evocations of compassion, courage, and self-discovery.… This Tender Land is a gripping, poignant tale swathed in both mythical and mystical overtones.” —Bob Drury, New York Times bestselling author of The Heart of Everything That Is “This Tender Land is a moving portrait of a time and place receding from the collective memory, but leaving its mark on the heart of what the nation has become.” —CrimeReads

She was so plain. Would it kill you to wear skirts more, he had said to her. Would it really hurt you? He was thinking of how he would like to see her when she was alone with him. He knew she could dress when she had to, but this was what he was saying. He was saying something about their private life. He was saying something about his needs as a man. He imagines America’s anger at this. It would be the women, mainly. Their eager faces had watched: Amelia boarding the plane for her first transatlantic flight; Amelia waving to the crowd in the ticker tape parade; Amelia leaving luncheons and concert halls. Some had been housewives and some, girls with dreams of loops and spins and dives, of hugging the curvature of the earth through a thin sheet of aluminum. -- After Amelia

Victimspeak is the trigger that permits the unleashing of an emotional and self-righteous response to any perceived slight. Charges of racism and sexism continue to be the nuclear weapons of debate, used to shout down nuanced approaches to complex issues. Victimspeak insists upon moral superiority and moral absolutism and thus tends to put an abrupt end to conversation; the threat of its deployment is usually enough to keep others from even considering raising a controversial subject. Ironically, this style of linguistic bullying often parades under the banner of "sensitivity". Of course, sensitivity to the needs and concerns of others is the mark of a civil and civilized society. But the victimist demand for sensitivity is more problematic. To be sensitive (in victimspeak) is not to argue or to reason but to feel, to attune one's response to another's sense of aggrievement. This politicized sensitivity (as distinct from decency, civility, and honesty) demands the constant adjustment of one's responses to the shifting and unpredictable demands of the victim. The greater the wounds, the louder the cries of injustice, the greater the demand for sensitivity--no matter how unreasonable. Asking the wrong questions can be perceived as insensitivity, but so can failing to ask the right ones. One can be insensitive without intending to be; only the victim can judge. Inevitably, this changes both the terms and the climate of debate. It is no longer necessary to engage in lengthy and detailed debate over such issues as affirmative action; it is far easier and more effective to simply brand a critic as insensitive.

You back already?” Seymour asked. “Where’d the time go?” Sabbatical, I realized, was an exercise in relativity. Our new experiences and the emotions attached to them created new memories and changed our characters. Time had passed slowly for me and my family. It was so thick and heavy we could nearly grip it. But for my professional colleagues who were engaged in the daily routines of work and home, their more linear stretch of time marched ahead briskly like soldiers on parade. Routine made their lives easier—they didn’t have to think about or choose what to do next. Habit took over, hiding the passage of time and draining it from awareness.

Sabbatical, I realized, was an exercise in relativity. Our new experiences and the emotions attached to them created new memories and changed our characters. Time had passed slowly for me and my family. It was so thick and heavy we could nearly grip it. But for my professional colleagues who were engaged in the daily routines of work and home, their more linear stretch of time marched ahead briskly like soldiers on parade. Routine made their lives easier—they didn’t have to think about or choose what to do next. Habit took over, hiding the passage of time and draining it from awareness.

I will never forget the day I finally passed SAS selection. At the end of the long, grueling process of elimination, where 140 recruits had steadily been whittled down to only four of us, I finally found myself preparing to get ‘badged.’ Yet it was the most low-key event you could ever imagine. No fanfare, no bugler, no parade. Just the four of us that remained, standing in a small, nondescript outbuilding on the edge of the Hereford training camp; we were battered, exhausted, bruised and spent, yet our hearts were bursting with pride. The commanding officer of the regiment walked in, stood in front of us and said these words - I have never forgotten them: From this day on, you are part of a family. I know what you have had to give to earn the right to be here. The difference between the four of you and the rest of those who have failed is very simple: it is the ability to give that little bit extra when it hurts. You see, the difference between ordinary and extraordinary is often just that little word extra.’ He then added: ‘The work I am going to ask you to do now will continue to be arduous, even more so, in fact, but what makes our work here special is your ability to give that little bit extra when most simply give up. ‘You gave more when others gave up. That’s the difference.’ That short speech made a huge impact on me, and I never forgot it. The words were simple, yet for a young soldier, and one without a huge amount of confidence, they gave me something to hold on to. And I have done that ever since, through so many hard times in jungles, deserts, mountains and life. That little bit extra. Reaching our summits only requires us to hold on that little bit longer than most people are prepared to endure. Just that little bit extra, just that nose-length more.

Such risk aversion breeds its own failure. So deeply rooted is gentrification that Richard Florida has now modified his widely acclaimed thesis about the rise of the creative classes. Cities are becoming too successful for their own good. Until recently, he believed they would be the engine rooms of the new economy, embracing the diversity necessary to attract talent. That has certainly happened. Gay pride parades seem to get larger every year. A thousand multicultural flowers are blooming. Yet in squeezing out income diversity, the new urban economies are also shutting off the scope for serendipity. The West’s global cities are like tropical islands surrounded by oceans of resentment. Florida’s latest book is called The New Urban Crisis. Rather than being shaped by those who live there full-time, the characters of our biggest cities are increasingly driven by the global super-rich as a place to park their money. Many of the creative classes are being edged out. Urban downtowns have turned into ‘deadened trophy districts’. New York’s once-bohemian SoHo is now better known for its high-end boutiques than its artists’ studios. SoHo could nowadays be found in any big city in the world. ‘Superstar cities and tech hubs will become so expensive that they will turn into gilded and gated communities,’ Florida predicts.51 ‘Their innovative and creative sparks will eventually fade.’ Karl Marx was wrong: it is the rich who are losing their nation, not the proletariat. The gap between global cities and their national anchors is already a metaphor for our times. By contrast, the rise of the robot economy has only half lodged itself in our expectations. It is easy to dismiss some of Silicon Valley’s wilder talk as the stuff of science-fiction movies. But the gap between sci-fi and reality is closing.

In provisionally characterizing the object which serves as the theme of our investigation (the Being of entities, or the meaning of Being in general), it seems that we have also delineated the method to be employed. The task of ontology is to explain Being itself and to make the Being of entities stand out in full relief. And the method of ontology remains questionable in the highest degree as long as we merely consult those ontologies which have come down to us historically, or other essays of that character. Since the term "ontology" is used in this investigation in a sense which is formally broad, any attempt to clarify the method of ontology by tracing its history is automatically ruled out. When, moreover, we use the term "ontology," we are not talking about some definite philosophical discipline standing in interconnection with the others. Here one does not have to measure up to the tasks of some discipline that has been presented beforehand; on the contrary, only in terms of the objective necessities of definite questions and the kind of treatment which the 'things themselves' require, can one develop such a discipline. With the question of the meaning of Being, our investigation comes up against the fundamental question of philosophy. This is one that must be treated *phenomenologically*. Thus our treatise does not subscribe to a 'standpoint' or represent any special 'direction'; for phenomenology is nothing of either sort, nor can it become so as long as it understands itself. The expression 'phenomenology' signifies primarily a *methodological conception*. This expression does not characterize the what of the objects of philosophical research as subject-matter, but rather the *how* of that research. The more genuinely a methodological concept is worked out and the more comprehensively it determines the principles on which a science is to be conducted, all the more primordially is it rooted in the way we come to terms with the things themselves, and the farther is it removed from what we call "technical devices," though there are many such devices even in the theoretical disciplines. Thus the term 'phenomenology' expresses a maxim which can be formulated as 'To the things themselves!' It is opposed to all free-floating constructions and accidental findings; it is opposed to taking over any conceptions which only seem to have been demonstrated; it is opposed to those pseudo-questions which parade themselves as 'problems', often for generations at a time. Yet this maxim, one may rejoin, is abundantly self-evident, and it expresses, moreover, the underlying principle of any scientific knowledge whatsoever. Why should anything so self-evident be taken up explicitly in giving a title to a branch of research? In point of fact, the issue here is a kind of 'self-evidence' which we should like to bring closer to us, so far as it is important to do so in casting light upon the procedure of our treatise. We shall expound only the preliminary conception [Vorbegriff] of phenomenology. This expression has two components: "phenomenon" and "logos." Both of these go back to terms from the Greek: φαινόμενον and λόγος. Taken superficially, the term "phenomenology" is formed like "theology," "biology," "sociology"―names which may be translated as "science of God," "science of life," "science of society." This would make phenomenology the *science of phenomena*. We shall set forth the preliminary conception of phenomenology by characterizing what one has in mind in the term's two components, 'phenomenon' and 'logos', and by establishing the meaning of the name in which these are *put together*. The history of the word itself, which presumably arose in the Wolffian school, is here of no significance." ―from_Being and Time_. Translated by John Macquarrie & Edward Robinson, pp. 49-51

Make sure that your election campaign is one long parade, magnificent and splendid, appealing to popular taste, presenting a grand and dignified spectacle. If at all possible, you should also arrange for some scandal to be stirred up against your competitors, involving either criminal behavior of sex or bribery, depending on their character.

2. Don't Listen to the Dream-Stealers. The very next thing that will happen, once you write your goals down and start to talk to people about them, is that you will meet those all-too-common cynics who will look at you and smirk. I call them the dream-stealers. Beware: they are more dangerous to mankind than you might ever imagine. In life, we will never be short of people who want to knock our confidence or mock our ambitions. There are lots of reasons why people might want to rain on your parade: perhaps they’re a little jealous that you want more out of life than they might hope for, or they’re worried your success will make them feel inferior. It might be that their motives come from a better place and they just want to spare you the failure, heartache and tears. Either way, the results are the same: you get dissuaded from achieving your dreams and from fulfilling your potential. The key is not to listen to them too hard. Hear them, if you must--out of respect--but then smile and push on. Remember, the key to your future success is going to be embracing the very same thing those dream-stealers are warning you about: the failure, the heartache and the tears. All those things will be key stepping stones on the road to success, and are actually good solid markers that you are doing something right.

On the Date with Debbie [Reynolds] television program in 1960, Charlie Ruggles, another veteran character actor used to playing grandfathers, asked Brennan in mock outrage, “How did you get to be the main grandfather?” Brennan did not answer the question, but instead told a joke about Martians who land in Hollywood: One Martian says, “First take me to Marilyn Monroe and then to your leader.” He enjoyed that kind of comic misdirection. He did not care to explain the reasons for his success—although he enjoyed that success mightily. He loved parades and loved serving as grand marshal, usually decking himself out in cowboy clothing, as he did on December 2, 1961, in the Bethlehem Star Parade that marched near his Northridge home.

Brennan credited his time in the army with shaping his deep suspicion of government. While he was fighting at the front, his draft board sent a letter to his home stating he would be fined and imprisoned if he did not turn up for his physical. “Just goes to show how much the government knows about what’s going on,” he said. On April 4, 1919, Walter Brennan was one of six thousand returning troops that Governor Calvin Coolidge saluted as their ship docked. Six days later, while the demobbed Brennan was marching in a Swampscott parade, he spotted Ruth Wells, the daughter Lynn’s local sheriff, crossing the street. Walter’s and Ruth’s families knew one another, but Walter, three years older than Ruth, had not paid that much attention to her until he went away to war and began writing letters to her. When Ruth was six, she broke a bottle belonging to Walter’s mother, and nine-year-old Walter teased her to tears by telling her, “she’d get it when they got home.” During the war, she attended Simmons College, graduating in 1919 from a three-year program in secretarial studies, having taken courses not only in shorthand, typing, business practices, commercial law, and economics, but also in English, History, French, and German. Her yearbook entry in The Microcosm gives the impression of a lively and sociable personality with interests in the theater, parties, and dances. She was not one to sulk or spend much time worrying. “He kind of discovered you,” Ralph Edwards said to Ruth. “Oh, I did that,” she explained. “We were invited by Walter’s mother to dinner, my mother and my two sisters . . . Walter

By far the most well known–and star of the Macy’s parade–is the original Pikachu. Created to resemble a cute mouse, Pikachu has been at the center of the Pokemon story since it first began. As the first Pokemon character introduced, and the story’s hero’s–Ash-  personal pet, Pikachu is recognized world wide as an iconic symbol of the franchise. The popularity of Pikachu has more to do with his cute persona and likeable personality. Although he was first portrayed as somewhat of a rogue, disobeying trainer Ash and outwardly harming him, his character has evolved over the years to where his sweet personality matches the cute mouse face. All Pokemon are classified by type, depending on the special powers and characteristics they possess. In the case of Pikachu, he/she is an electric Pokemon, who zaps his enemies with bolts of electricity. Not by accident, the creators developed Pikachu to have a tail shaped like a lightening bolt, to further his identity. Pikachu

Sega capped off 1993 by introducing the Sonic the Hedgehog balloon into the Macy’s Thanksgiving Day parade, the first such balloon based on a video game character. (True to form, Sonic went too fast, and crashed into a Columbus Circle lamppost.)

By far the most well known–and star of the Macy’s parade–is the original Pikachu. Created to resemble a cute mouse, Pikachu has been at the center of the Pokemon story since it first began. As the first Pokemon character introduced, and the story’s hero’s–Ash-  personal pet, Pikachu is recognized world wide as an iconic symbol of the franchise. The popularity of Pikachu has more to do with his cute persona and likeable

Meanwhile back in the cinema, a staggering number of films still fail to meet the incredibly low standards of the Bechdel Test, which merely requires them to include two named female characters who talk to each other about any subject other than a man. According to the Bechdel website, recent failures to meet their ludicrously simple criteria include mainstream Hollywood blockbusters like The Internship, The Lone Ranger, The Avengers, Jack Reacher, Killer Joe, Men in Black III and Star Trek: Into Darkness (which should get a bonus point for an underwear scene so blatantly gratuitous even the writer subsequently saw fit to make a public apology for it). There is a feverish desperation to portray any young woman as a sexual object among a large swathe of the media that is so powerful as to transcend both relevance and respect. In the past year alone this rabid tunnel vision led to the portrayal of Amanda Thatcher (in mourning and speaking at her grandmother’s funeral), Amanda Knox (on trial for murder) and Reeta Steenkamp (a victim of domestic violence and murder) as sexual objects for mass consumption. All – regardless of their very different reasons for being in the spotlight – were paraded in countless photographs for the delectation of the tabloid readers.

There are tons of people out there experiencing the world like they’re fictional characters, living out their lives with no backstory until somebody—a voice or another character—comes along to fill in the blanks.

I think that was what I liked so much about her, at the time. That such talent could reside in such a humble soul. That she was entirely dedicated to her craft. For her, it was about the acting, the immersion into a character. Not the glitz and the red-carpet parades and the free gift bags. Although we both enjoyed our fair share of the parties, they were not the point for us.

A preference for broad strokes, for the distortion and flattening of character and the reduction of events to narrative, has been for well over a hundred years the heart of the way the city presents itself: Lady Liberty, huddled masses, ticker-tape parades, heroes, gutters, bright lights, broken hearts, 8 million stories in the naked city; 8 million stories and all the same story, each devised to obscure not only the city's actual tensions of race and class but also, more significantly, the civic and commercial arrangements that rendered those tensions irreconcilable.

That summer, the Company became the focus for much scandalous gossip in London. There was already in print a brilliant satire attacking the directors of the EIC – Debates in the Asiatic Assembly. Among its characters were Sir Janus Blubber, Shylock Buffalo, Jaundice Braywell, Sir Judas Venom, Donald Machaggies, Caliban Clodpate, Skeleton Scarecrow and the villainous Lord Vulture, a character clearly modelled on Clive. As the parade of Company grotesques praise Lord Vulture, only one character – George Manly – dares denounce the others as ‘a troop of desperate banditti … a scandalous confederacy to plunder and strip’.

Lillian Randolph, who had also played a maid on The Billie Burke Show and eventually took the lead on Beulah, was at her peak as Birdie, playing the role all the way. Birdie was perhaps the most endearing in radio’s long parade of Negro maids, cooks, and housekeepers. She had genuine warmth, an infectious laugh, and a heart as big as the great man’s midsection. She also had a feisty side, being fully capable of deflating Gildersleeve’s ego. She spoke her mind, did it respectfully while making certain that her voice was heard, and remained a sympathetic character to both races in mid-1940s America.

Autumn Psalm A full year passed (the seasons keep me honest) since I last noticed this same commotion. Who knew God was an abstract expressionist? I’m asking myself—the very question I asked last year, staring out at this array of racing colors, then set in motion by the chance invasion of a Steller’s jay. Is this what people mean by speed of light? My usually levelheaded mulberry tree hurling arrows everywhere in sight— its bow: the out-of-control Virginia creeper my friends say I should do something about, whose vermilion went at least a full shade deeper at the provocation of the upstart blue, the leaves (half green, half gold) suddenly hyper in savage competition with that red and blue— tohubohu returned, in living color. Kandinsky: where were you when I needed you? My attempted poem would lie fallow a year; I was so busy focusing on the desert’s stinginess with everything but rumor. No place even for the spectrum’s introverts— rose, olive, gray—no pigment at all— and certainly no room for shameless braggarts like the ones that barge in here every fall and make me feel like an unredeemed failure even more emphatically than usual. And here they are again, their fleet allure still more urgent this time—the desert’s gone; I’m through with it, want something fuller— why shouldn’t a person have a little fun, some utterly unnecessary extravagance? Which was—at least I think it was—God’s plan when He set up (such things are never left to chance) that one split-second assignation with genuine, no-kidding-around omnipotence what, for lack of better words, I’m calling vision. You breathe in, and, for once, there’s something there. Just when you thought you’d learned some resignation, there’s real resistance in the nearby air until the entire universe is swayed. Even that desert of yours isn’t quite so bare and God’s not nonexistent; He’s just been waylaid by a host of what no one could’ve foreseen. He’s got plans for you: this red-gold-green parade is actually a fairly detailed outline. David never needed one, but he’s long dead and God could use a little recognition. He promises. It won’t go to His head and if you praise Him properly (an autumn psalm! Why didn’t I think of that?) you’ll have it made. But while it’s true that my Virginia creeper praises Him, its palms and fingers crimson with applause, that the local breeze is weaving Him a diadem, inspecting my tree’s uncut gold for flaws, I came to talk about the way that violet-blue sprang the greens and reds and yellows into action: actual motion. I swear it’s true though I’m not sure I ever took it in. Now I’d be prepared, if some magician flew into my field of vision, to realign that dazzle out my window yet again. It’s not likely, but I’m keeping my eyes open though I still wouldn’t be able to explain precisely what happened to these vines, these trees. It isn’t available in my tradition. For this, I would have to be Chinese, Wang Wei, to be precise, on a mountain, autumn rain converging on the trees, a cassia flower nearby, a cloud, a pine, washerwomen heading home for the day, my senses and the mountain so entirely in tune that when my stroke of blue arrives, I’m ready. Though there is no rain here: the air’s shot through with gold on golden leaves. Wang Wei’s so giddy he’s calling back the dead: Li Bai! Du Fu! Guys! You’ve got to see this—autumn sun! They’re suddenly hell-bent on learning Hebrew in order to get inside the celebration, which explains how they wound up where they are in my university library’s squashed domain. Poor guys, it was Hebrew they were looking for, but they ended up across the aisle from Yiddish— some Library of Congress cataloger’s sense of humor: the world’s calmest characters and its most skittish squinting at each other, head to head, all silently intoning some version of kaddish. Part 1

The State thinks it’s a slam dunk. The State rests. That’s when the defense pings a cymbal and the parade begins. Thirteen character witnesses come out for Aaron Knodel, eleven of whom are women. Sarabeth J. and Cassidy M. are former students. They were not molested by Aaron Knodel. They are there, it seems, to say, Look at us, we are pretty and cool, and he didn’t go after us.

It occurred to me in the time that followed that I had been murdered and yet had nonetheless remained alive, and I found that I could associate this death-in-life with other events and experiences, most of which were consequences in one way or another of my biological femininity. Those female experiences, I now saw, had usually been attributed to an alternate or double self whose role it was to absorb and confine them so that they played no part in the ongoing story of life. Like a kind of stuntman, this alternate self took the actual risks in the manufacture of a fictional being whose exposure to danger was supposedly fundamental to its identity. Despite having no name or identity of her own, the stuntman was what created both the possibilities and the artificiality of character.