Parking Picture Quotes

I'm the girl who is lost in space, the girl who is disappearing always, forever fading away and receding farther and farther into the background. Just like the Cheshire cat, someday I will suddenly leave, but the artificial warmth of my smile, that phony, clownish curve, the kind you see on miserably sad people and villains in Disney movies, will remain behind as an ironic remnant. I am the girl you see in the photograph from some party someplace or some picnic in the park, the one who is in fact soon to be gone. When you look at the picture again, I want to assure you, I will no longer be there. I will be erased from history, like a traitor in the Soviet Union. Because with every day that goes by, I feel myself becoming more and more invisible...

The ducks in St James's Park are so used to being fed bread by secret agents meeting clandestinely that they have developed their own Pavlovian reaction. Put a St James's Park duck in a laboratory cage and show it a picture of two men -- one usually wearing a coat with a fur collar, the other something sombre with a scarf -- and it'll look up expectantly.

Why aren't you in school? I see you every day wandering around." "Oh, they don't miss me," she said. "I'm antisocial, they say. I don't mix. It's so strange. I'm very social indeed. It all depends on what you mean by social, doesn't it? Social to me means talking to you about things like this." She rattled some chestnuts that had fallen off the tree in the front yard. "Or talking about how strange the world is. Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That's not social to me at all. It's a lot of funnels and lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?

Who brings baby pictures on an international flight?" I hissed. "If I'd wanted my bare ass paraded in front of all the first-class ticket holders I'd have mooned everyone before we took off!

Oh my God, I sent a picture of my boobs to Jim," I moaned as a fresh wave of nausea rolled through me. "You also threw up in the emergency room parking lot, called Drew and told him you were the Donkey Punch Dick Queen and filled out a Last Will and Testament on a Burger King napkin and then asked the drive-thru worker to notarize it.

I pictured Cupid sitting in a crappy little bar, drunk and depressed, while he moaned to the bartender, "That Jasmine Parks, gods, she pisses me off! Did you see what she just did? Totally blew off this immortal stud to play kiss-the-boo-boo with a fickle little rent-a-cop. Why? 'Cause she's the biggest chickenshit on the planet! I'm ready to toss my bow and pick up a bazooka!

People were so naive about plants, Ellie thought. They just chose plants for appearance, as they would choose a picture for the wall. It never occurred to them that plants were actually living things, busily performing all the living functions of respiration, ingestion, excretion, reproduction---and defense.

You can neither lie to a neighbourhood park, nor reason with it. 'Artist's conceptions' and persuasive renderings can put pictures of life into proposed neighbourhood parks or park malls, and verbal rationalizations can conjure up users who ought to appreciate them, but in real life only diverse surroundings have the practical power of inducing a natural, continuing flow of life and use.

I sit, I read, I listen to music, I go or a walk, I ride to Prospect Park and sit under the Willow Tree, I remember, I forget, I look at pictures, I do, I do, I do... or I don't, but its peaceful... only me... no worries.

The Times 2 July 1952 WAS BRITISH BARONESS WORKING FOR THE NAZIS IN PARIS? By Philip Bing-Wallace It was alleged that Baroness Freya Saumures (who claimed to be of Swedish descent but is a British subject) was one of the many women that entertained the Gestapo and SS during the occupation of Paris, a jury was told. At the baroness’s trial today, the Old Bailey heard Daniel Merrick-James QC, prosecuting council, astonish the jury by revealing that Baroness Freya Saumures allegedly worked with the Nazis throughout the Nazi occupation of Paris. There was a photograph of a woman in a headscarf and dark glasses, alongside a tall dark-haired man who had a protective arm around her, his face shielded by his hand. A description beneath the image read: Baroness Saumures with her husband, Baron Ferdinand Saumures, outside the Old Bailey after her acquittal. Alec could not see her face fully, but the picture of the baron, even partially obscured, certainly looked very like the man lying dead in the Battersea Park Road crypt. Alec read on. When Mr Merrick-James sat, a clerk of the court handed the judge, Justice Henry Folks, a note. The judge then asked the court to be cleared. Twenty minutes later, the court was reconvened. Justice Folks announced to the jury that the prosecution had dropped all charges and that Lady Saumures was acquitted. There was no explanation for the acquittal. The jury was dismissed with thanks. Neither Baron nor Baroness Saumures had any comment. Baron and Baroness Saumures live in West Sussex and are well known to a select group for their musical evenings and events. They are also well known for protecting their privacy. Alec rummaged on. It was getting close to lunchtime and his head was beginning to ache.

Sleeping in a hallway around Bedford Park later that week, I took out my blank transcripts and filled in the grades I wanted, making neat little columns of A’s. If I could picture it—if I could take out these transcripts and look at them—then it was almost as if the A’s had already happened. Day by day, I was just catching up with what was already real. My future A’s, in my heart, had already occurred. Now I just had to get to them.

she loved to stand in the middle of a market square, or a park, or a beach and take in the smells and the sounds of a world that was completely new to her. she loved being an anonymous extra in a crowd scene, like some real-life where's waldo - a tiny face, wide-eyed with wonder, in a vast, ever-changing picture.

There was old sex in the room and loneliness, and expectation, of something without a shape or name. I remember that yearning, and was never the same as the hands that were on us there and then, in the small of the back, or out back, in the parking lot, or in the television room with the sound turned down and only the pictures flickering over lifting flesh. We yearned for the future How did we learn it, that talent for insatiability?

Three years in London had not changed Richard, although it had changed the way he perceived the city. Richard had originally imagined London as a gray city, even a black city, from pictures he had seen, and he was surprised to find it filled with color. It was a city of red brick and white stone, red buses and large black taxis, bright red mailboxes and green grassy parks and cemeteries. It was a city in which the very old and the awkwardly new jostled each other, not uncomfortably, but without respect; a city of shops and offices and restaurants and homes, of parks and churches, of ignored monuments and remarkably unpalatial palaces; a city of hundreds of districts with strange names - Crouch End, Chalk Farm, Earl's Court, Marble Arch - and oddly distinct identities; a noisy, dirty, cheerful, troubled city, which fed on tourists, needed them as it despised them, in which the average speed of transportation through the city had not increased in three hundred years, following five hundred years of fitful road-widening and unskillful compromises between the needs of traffic, whether horse-drawn, or, more recently, motorized, and the need of pedestrians; a city inhabited by and teeming with people of every color and manner and kind.

We’d all lost ourselves and found something far more significant together. We reached with gaping wounds for a healing we desired so badly, like a blind man picturing the world around him—the lively children skipping rope, green grass, blue sky. It’s like that man standing in his vision, rising from the park bench, arms outstretched, taking the first steps into a world he only hopes exists.

Well, there are worse things Than staring at the water on a Sunday. There are worse things Than staring at the water As you're posing for a picture After sleeping on the ferry After getting up at seven To came over to an island In the middle of a river Half an hour from the city On a Sunday. On a Sunday in the park with-

Once upon a time, there lived a boy and a girl. The boy was eighteen and the girl sixteen. He was not unusually handsome, and she was not especially beautiful. They were just an ordinary lonely boy and an ordinary lonely girl, like all the others. But they believed with their whole hearts that somewhere in the world there lived the 100% perfect boy and the 100% perfect girl for them. Yes, they believed in a miracle. And that miracle actually happened. One day the two came upon each other on the corner of a street. “This is amazing,” he said. “I’ve been looking for you all my life. You may not believe this, but you’re the 100% perfect girl for me.” “And you,” she said to him, “are the 100% perfect boy for me, exactly as I’d pictured you in every detail. It’s like a dream.” They sat on a park bench, held hands, and told each other their stories hour after hour. They were not lonely anymore. They had found and been found by their 100% perfect other. What a wonderful thing it is to find and be found by your 100% perfect other. It’s a miracle, a cosmic miracle. As they sat and talked, however, a tiny, tiny sliver of doubt took root in their hearts: Was it really all right for one’s dreams to come true so easily? And so, when there came a momentary lull in their conversation, the boy said to the girl, “Let’s test ourselves - just once. If we really are each other’s 100% perfect lovers, then sometime, somewhere, we will meet again without fail. And when that happens, and we know that we are the 100% perfect ones, we’ll marry then and there. What do you think?” “Yes,” she said, “that is exactly what we should do.” And so they parted, she to the east, and he to the west. The test they had agreed upon, however, was utterly unnecessary. They should never have undertaken it, because they really and truly were each other’s 100% perfect lovers, and it was a miracle that they had ever met. But it was impossible for them to know this, young as they were. The cold, indifferent waves of fate proceeded to toss them unmercifully. One winter, both the boy and the girl came down with the season’s terrible inluenza, and after drifting for weeks between life and death they lost all memory of their earlier years. When they awoke, their heads were as empty as the young D. H. Lawrence’s piggy bank. They were two bright, determined young people, however, and through their unremitting efforts they were able to acquire once again the knowledge and feeling that qualified them to return as full-fledged members of society. Heaven be praised, they became truly upstanding citizens who knew how to transfer from one subway line to another, who were fully capable of sending a special-delivery letter at the post office. Indeed, they even experienced love again, sometimes as much as 75% or even 85% love. Time passed with shocking swiftness, and soon the boy was thirty-two, the girl thirty. One beautiful April morning, in search of a cup of coffee to start the day, the boy was walking from west to east, while the girl, intending to send a special-delivery letter, was walking from east to west, but along the same narrow street in the Harajuku neighborhood of Tokyo. They passed each other in the very center of the street. The faintest gleam of their lost memories glimmered for the briefest moment in their hearts. Each felt a rumbling in their chest. And they knew: She is the 100% perfect girl for me. He is the 100% perfect boy for me. But the glow of their memories was far too weak, and their thoughts no longer had the clarity of fouteen years earlier. Without a word, they passed each other, disappearing into the crowd. Forever. A sad story, don’t you think?

We lived on 82nd Street and the Metropolitan Museum was my short cut to Central Park. I wrote: "I go into the museum and look at all the pictures on the walls. Instead of feeling my own insignificance I want to go straight home and paint." A great painting, or symphony, or play, doesn't diminish us, but enlarges us, and we, too, want to make our own cry of affirmation to the power of creation behind the universe. This surge of creativity has nothing to do with competition, or degree of talent. When I hear a superb pianist, I can't wait to get to my own piano, and I play about as well now as I did when I was ten. A great novel, rather than discouraging me, simply makes me want to write. This response on the part of any artist is the need to make incarnate the new awareness we have been granted through the genius of someone else.

ERIC: What are you always writin' in that book anyway? RODNEY: Poetry. TYRONE: Poetry? Rodney stops sketching and sentimentally flips through a few dozen pages of sketches and handwritten poems and notes. RODNEY: Poetry and pictures. Snapshots of our lives developed in the darkrooms of our souls." From CENTRAL PARK SONG -- a screenplay

Before she leaves, my new friend tells me to look out of the big picture window at the parking lot. "See that purple Harley out there—that big gorgeous one? That's mine. I used to ride behind my husband, and never took the road on my own. Then after the kids were grown, I put my foot down. It was hard, but we finally got to be partners. Now he says he likes it better this way. He doesn't have to worry about his bike breaking down or getting a heart attach and totaling us both. I even put 'Ms.' on my license plate—and you should see my grandkids' faces when Grandma rides up on her purple Harley!" On my own again, I look out at the barren sand and tortured rocks of the Badlands, stretching for miles. I've walked there, and I know that, close up, the barren sand reveals layers of pale rose and beige and cream, and the rocks turn out to have intricate womblike openings. Even in the distant cliffs, caves of rescue appear. What seems to be one thing from a distance is very different close up. I tell you this story because it's the kind of lesson that can be learned only on the road. And also because I've come to believe that, inside, each of us has a purple motorcycle. We have only to discover it—and ride.

When I was a child growing up in Salinas we called San Francisco “the City”. Of course it was the only city we knew, but I still think of it as the City, and so does everyone else who has ever associated with it. A strange and exclusive work is “city”. Besides San Francisco, only small sections of London and Rome stay in the mind as the City. New Yorkers say they are going to town. Paris has no title but Paris. Mexico City is the Capital. Once I knew the City very well, spent my attic days there, while others were being a lost generation in Paris. I fledged in San Francisco, climbed its hills, slept in its parks, worked on its docks, marched and shouted in its revolts. In a way I felt I owned the City as much as it owned me. San Francisco put on a show for me. I saw her across the bay, from the great road that bypasses Sausalito and enters the Golden Gate Bridge. The afternoon sun painted her white and gold---rising on her hills like a noble city in a happy dream. A city on hills has it over flat-land places. New York makes its own hills with craning buildings, but this gold and white acropolis rising wave on wave against the blue of the Pacific sky was a stunning thing, a painted thing like a picture of a medieval Italian city which can never have existed. I stopped in a parking place to look at her and the necklace bridge over the entrance from the sea that led to her. Over the green higher hills to the south, the evening fog rolled like herds of sheep coming to cote in the golden city. I’ve never seen her more lovely. When I was a child and we were going to the City, I couldn’t sleep for several nights before, out of busting excitement. She leaves a mark.

It all began with the word itself. "Grass. Gramina. The family Gramineae. Grasses." "Oh," I responded doubtfully. The picture in my mind was only of a vague area in parks edged with benches for the idle.

The whole island was exactly what a kid growing up in some trailer park--say some dump like Tecumseh Lake, Georgia--would dream about. This kid would turn out all the lights in the trailer while her mom was at work. She'd lie down flat on her back, on the matted-down orange shag carpet in the living room. The carpet smelling like somebody stepped in a dog pile. The orange melted black in spots from cigarette burns. The ceiling was water-stained. she'd fold her arms across her chest, and she could picture life in this kind of place. It would be that time--late at night--when your ears reach out for any sound. When you can see more with your eyes closed than open. The fish skeleton. From the first time she held a crayon, that's what she'd draw.

In our yearbook, there is a picture of me and Miah - sitting in Central Park - Miah has his lips poked out and is about to kiss me on my cheek. And I'm looking straight into the camera laughing. Two and half years have passed, and still, this is how I remember us. This is how I will always remember us. And I know when I look at that picture, when I think back to those few months with Miah, that I did not miss the moment.

For years I’d been awaiting that overriding urge I’d always heard about, the narcotic pining that draws childless women ineluctably to strangers’ strollers in parks. I wanted to be drowned by the hormonal imperative, to wake one day and throw my arms around your neck, reach down for you, and pray that while that black flower bloomed behind my eyes you had just left me with child. (With child: There’s a lovely warm sound to that expression, an archaic but tender acknowledgement that for nine months you have company wherever you go. Pregnant, by contrast, is heavy and bulging and always sounds to my ear like bad news: “I’m pregnant.” I instinctively picture a sixteen-year-old at the dinner table- pale, unwell, with a scoundrel of a boyfriend- forcing herself to blurt out her mother’s deepest fear.) (27)

The technician consulted the enclosed documents. “Lizard is biting local children. They have a question about identification of the species, and a concern about diseases transmitted from the bite.” She produced a child’s picture of a lizard, signed TINA at the top. “One of the kids drew a picture of the lizard.

Yeah, but what does that even mean... heaven? Because see, I need to be able to put him somewhere, Zo. In my head, I mean. I need to be able to close my eyes and picture him and know he's okay. And just saying the word heaven doesn't help that much. Because like what is heaven, exactly? And where is it? And what do you do there?

On the morning of our second day, we were strolling down the Champs-Elysées when a bird shit on his head. ‘Did you know a bird’s shit on your head?’ I asked a block or two later. Instinctively Katz put a hand to his head, looked at it in horror – he was always something of a sissy where excrement was concerned; I once saw him running through Greenwood Park in Des Moines like the figure in Edvard Munch’s ‘The Scream’ just because he had inadvertently probed some dog shit with the tip of his finger – and with only a mumbled ‘Wait here’ walked with ramrod stiffness in the direction of our hotel. When he reappeared twenty minutes later he smelled overpoweringly of Brut aftershave and his hair was plastered down like a third-rate Spanish gigolo’s, but he appeared to have regained his composure. ‘I’m ready now,’ he announced. Almost immediately another bird shit on his head. Only this time it really shit. I don’t want to get too graphic, in case you’re snacking or anything, but if you can imagine a pot of yoghurt upended onto his scalp, I think you’ll get the picture. ‘Gosh, Steve, that was one sick bird,’ I observed helpfully. Katz was literally speechless. Without a word he turned and walked stiffly back to the hotel, ignoring the turning heads of passers-by. He was gone for nearly an hour. When at last he returned, he was wearing a windcheater with the hood up. ‘Just don’t say a word,’ he warned me and strode past. He never really warmed to Paris after that.

When she says margarita she means daiquiri. When she says quixotic she means mercurial. And when she says, "I'll never speak to you again," she means, "Put your arms around me from behind as I stand disconsolate at the window." He's supposed to know that. When a man loves a woman he is in New York and she is in Virginia or he is in Boston, writing, and she is in New York, reading, or she is wearing a sweater and sunglasses in Balboa Park and he is raking leaves in Ithaca or he is driving to East Hampton and she is standing disconsolate at the window overlooking the bay where a regatta of many-colored sails is going on while he is stuck in traffic on the Long Island Expressway. When a woman loves a man it is one ten in the morning she is asleep he is watching the ball scores and eating pretzels drinking lemonade and two hours later he wakes up and staggers into bed where she remains asleep and very warm. When she says tomorrow she means in three or four weeks. When she says, "We're talking about me now," he stops talking. Her best friend comes over and says, "Did somebody die?" When a woman loves a man, they have gone to swim naked in the stream on a glorious July day with the sound of the waterfall like a chuckle of water rushing over smooth rocks, and there is nothing alien in the universe. Ripe apples fall about them. What else can they do but eat? When he says, "Ours is a transitional era," "that's very original of you," she replies, dry as the martini he is sipping. They fight all the time It's fun What do I owe you? Let's start with an apology Ok, I'm sorry, you dickhead. A sign is held up saying "Laughter." It's a silent picture. "I've been fucked without a kiss," she says, "and you can quote me on that," which sounds great in an English accent. One year they broke up seven times and threatened to do it another nine times. When a woman loves a man, she wants him to meet her at the airport in a foreign country with a jeep. When a man loves a woman he's there. He doesn't complain that she's two hours late and there's nothing in the refrigerator. When a woman loves a man, she wants to stay awake. She's like a child crying at nightfall because she didn't want the day to end. When a man loves a woman, he watches her sleep, thinking: as midnight to the moon is sleep to the beloved. A thousand fireflies wink at him. The frogs sound like the string section of the orchestra warming up. The stars dangle down like earrings the shape of grapes.

The sparkle and morning-freshness of the shop, and the butter-conjuring girl, formed a mind-picture which accompanied the whole of my youth.(about the Buttercup Dairy)

There was old sex in the room and loneliness, and expectation, of something without a shape or name. I remember that yearning, for something that was always about to happen and was never the same as the hands that were on us there and then, in the small of the back, or out back, in the parking lot, or in the television room with the sound turned down and only the pictures flickering over lifting flesh.

Bucharest is a faded old gal in a raggedy coat. Once called the “Little Paris of the East,” she has long lost her finery. A few parks and buildings dream of past grandeur, but the picture is spoiled by the concrete and steel mementoes of Communism on every side.

My mom’s smile is genuine, A lilac beaming In the presence of her Sun. Indentions in the sand prove Time’s linear progression, Her hair yet unblighted, Carrying midnight’s consistency. Clear tracks fading as the Movement slips further In the past. Cheekbones High, soft, In summer’s hue, Hopeful. Each step’s unknown impact, A future looking back. My father’s strength: One whose Life is in his arms. Squinting past the camera, He rests upon a rock Like caramel corn half eaten, Just to the left Of man-made concrete convention Daylight’s eraser Removing color to his right. Dustin sits In my father’s lap, Open mouth of a drooling Big mouth bass; Muscle tone Of a well exercised Jelly fish, He looks at me Half aware; His wheelchair Perched at the edge Of parking lot gravel grafted Like a scar on nature’s beach, Opening to the ironic splendor Of a bitter tasting lake. I took the picture. Age 11. Capturing the pinnacle arc Of a son To my lilac Who Outlived him and weeps, Still. Their sky has staple holes – Maybe that’s how the Light Leaked out.

When John took those naked pictures, the most popular singer was a girl with a tiny stick body and a large deferential head, who sang in a delicious lilt of white lace and promises and longing to be close. When she shut herself up in her closet and starved herself to death, people were shocked. But starvation was in her voice all along. That was the poignancy of it. A sweet voice locked in a dark place, but focused entirely on the tiny strip of light coming under the door. I drop the rag in the bucket and smoke some more, ashing into the sink,. A tiny piece of the movie from the naked time plays on my eyeball: A psychotic killer is blowing up amusement parks. At the head of the crowd clamoring to ride the roller coaster is a slim, lovely man with long blond hair and floppy clothes and big, beautiful eyes fixed on a tiny strip of light that only he can see.

That’s what I imagined, a giant game park with comfortable lodges and roads. At a minimum, roads. According to the website, there’d be “bush camping” involved, but I pictured lovely big tents with showers and flush toilets. I didn’t think I’d be paying for the privilege of squatting in the bushes.

Of course, some dinosaurs had been social and cooperative. But others had been hunters—and killers of unparalleled viciousness. For Malcolm, the truest picture of life in the past incorporated the interplay of all aspects of life, the good and the bad, the strong and the weak. It was no good pretending anything else.

The ducks in St. James’ Park are so used to being fed bread by secret agents meeting clandestinely that they have developed their own Pavlovian reaction. Put a St. James’ Park duck in a laboratory cage and show it a picture of two men—one usually wearing a coat with a fur collar, the other something somber with a scarf—and it’ll look up expectantly. The Russian cultural attaché’s black bread is particularly sought after by the more discerning duck, while the head of MI9’s soggy Hovis with Marmite is relished by the connoisseurs.

the truest picture of life in the past incorporated the interplay of all aspects of life, the good and the bad, the strong and the weak. It was no good pretending anything else.

It was a lovely day with a hint of spring in the air and I enjoyed it all immensely. The mild weather had encouraged the bulbs: the crocuses were spangling the glades of the Park with a sheen of gold and blue, and as I lay under the trees eating my sandwiches I could picture these woods in a few weeks' time with their glimmering carpet of daffodils. [Edgar Hopkins]

But the tears of joy had washed anxiety away and lifted them to a height where nothing was impossible. Ryuji was as if paralyzed: the sight of familiar places, places they had visited together, failed to move him. That Yamashita Park and Marine Tower should now appear just as he had often pictured them seemed only obvious, inevitable. And the smoking drizzle of rain, by softening the too distinct scenery and making of it something closer to the images in memory, only heightened the reality of it all. Ryuji expected for some time after he disembarked to feel the world tottering precariously beneath his feet, and yet today more than ever before, like a piece in a jigsaw puzzle, he felt snugly in place in an anchored, amiable world.

Actually, she went off on a tangent, I told her about your mother at one point and she went all (H starts doing a lightly French accent) it is not fair for your friend, she is not going to get the important boredoms and mournings and melancholies that are her due and are owing to her just from being the age that she is, for now it will be interrupted by real mournings and real melancholies, anyway then i thought I'd bring the picture round to get away from her going on about it, then I thought I could ask you if you want to come out to the car park with me.

You know, it's such a peculiar thing--our idea of mankind in general. We all have a sort of vague, glowing picture when we say that, something solemn, big and important. But actually all we know of it is the people we meet in our lifetime. Look at them. Do you know any you'd feel big and solemn about? There's nothing but housewives haggling at pushcarts, drooling brats who write dirty words on the sidewalks, and drunken debutantes. Or their spiritual equivalent. As a matter of fact, one can feel some respect for people when they suffer. They have a certain dignity. But have you ever looked at them when they're enjoying themselves? That's when you see the truth. Look at those who spend the money they've slaved for--at amusement parks and side shows. Look at those who're rich and have the whole world open to them. Observe what they pick out for enjoyment. Watch them in the smarter speak-easies. That's your mankind in general. I don't want to touch it.

We can't, little cricket. It is against the law to fly this flag - even to put up a picture of it. Korea is part of the Japanese Empire now. But someday this will be our own country once more. Your own country.

LARKIN WATCHED Pike leaving, and in the moment he stepped outside, he was framed in the open door of their Echo Park house like a picture in a magazine, frozen in time and space. A big man, but not a giant. More average in size than not. With the sleeves covering his arms, and his face turned away, he seemed heartbreakingly normal, which made her love him even more. A superman risked nothing, but an average man risked everything.

As they passed through the exit, Indrani pulled Zarina’s stole over her head, covering half of her face. The two words—not guilty—had changed Zarina’s stature in minutes, from a relentless human rights activist to someone running for cover. They climbed down the stairs and rushed to the parking lot. Zarina’s car was in a pathetic condition—smashed windscreen, deflated tyres, broken rear view mirrors and torn upholstery. An exasperated Zarina raised her hands in utter disgust. Mob fury. Idiots, if they have won the case, let them celebrate their victory; why smash my car? The fighter in her forced Zarina to take out her cell phone and click pictures of her car from different angles.

(...) I'm my very best self when I'm with him, but every day, I want him more than I need him. He taught me that love is patient, love is kind, love is calm and quiet. It's not a music video of big hair, big tears and erotic, electrical storms. It's two people pottering about a small flat making each other coffee. It's waking up every morning and feeling quietly delighted as you smell the sleep on his skin and observe the the way his tufty hair is framed by the pillow. It's sly hands sneaking up jumpers to stroke the silky skin underneath and wanting to share all your big news, bad news and pictures of especially adorable dogs. It's knowing that there's nothing that can't be talked over and solved by a walk to the park or a trip to the pub.

Brighton Beach does not look, smell, or sound like Russia. It's a parody of Russia at best, something as different from the real thing as a picture of the Eiffel Tower. Yes, they sell Russian food on Brighton Beach, and Russian books and videos, and Russian clothes, and there are Russian restaurants and Russian nightclubs, and everybody speaks Russian, but the Russianness of the place is so concentrated that it feels ridiculously exaggerated. Everything Russian on Brighton Beach is too Russian, far more Russian than in real Russia. This is what happens all over Brooklyn. From the Scandinavians of Bay Ridge to the Chinese of Sunset Park, Brooklyn's immigrants go to ridiculous extremes to re-create their homelands only to end up with a vulgar pastiche.

But the weird thing to me about velociraptors is that even though I know they were feathered scavengers about the size of a swan, when I imagine them, I can’t help but see the raptors of Jurassic Park. Knowing the facts doesn’t help me picture the truth.

And I have come to understand the truth of what Ansel Adams said that you don’t make a photograph just with a camera but that you bring to the act all the pictures you have seen, the books you have read, the music you have heard and the people you have loved.

The travelers emerged into a spacious square. In the middle of this square were several dozen people on a wooden bandstand like in a public park. They were the members of a band, each of them as different from one another as their instruments. Some of them looked round at the approaching column. Then a grey-haired man in a colorful cloak called out and they reached for their instruments. There was a burst of something like cheeky, timid bird-song and the air – air that had been torn apart by the barbed wire and the howl of sirens, that stank of oily fumes and garbage – was filled with music. It was like a warm summer cloud-burst ignited by the sun, flashing as it crashed down to earth. People in camps, people in prisons, people who have escaped from prison, people going to their death, know the extraordinary power of music. No one else can experience music in quite the same way. What music resurrects in the soul of a man about to die is neither hope nor thought, but simply the blind, heart-breaking miracle of life itself. A sob passed down the column. Everything seemed transformed, everything had come together; everything scattered and fragmented -home, peace, the journey, the rumble of wheels, thirst, terror, the city rising out of the mist, the wan red dawn – fused together, not into a memory or a picture but into the blind, fierce ache of life itself. Here, in the glow of the gas ovens, people knew that life was more than happiness – it was also grief. And freedom was both painful and difficult; it was life itself. Music had the power to express the last turmoil of a soul in whose blind depths every experience, every moment of joy and grief, had fused with this misty morning, this glow hanging over their heads. Or perhaps it wasn't like that at all. Perhaps music was just the key to a man's feelings, not what filled him at this terrible moment, but the key that unlocked his innermost core. In the same way, a child's song can appear to make an old man cry. But it isn't the song itself he cries over; the song is simply a key to something in his soul.

When he finished his talk, I ran up to the front of the room, introduced myself, and just blurted out, "You're talking about it, I'm doing it! Let's get together! This is fantastic!" Minutes later, I just ran. I ran outside on pure adrenaline and threw up in the parking lot.

That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.

He thought how wonderful it would be if he could take off his shoes and walk barefooted in the grass the way he used to do in the park when he was a boy. What a fine picture that would be—the President walking barefooted on the White House lawn—and he knew if he did it the picture would be reproduced in one hundred million homes across the nation and the world and it would win him votes. The people liked to think of the President being a bit impulsive when it came to matters of the heart, a bit comic in domestic affairs, a bit inferior to each of them in some way....

As I lounged in the park, or strolled down Piccadilly, I used to look at every one who passed me and wonder, with a mad curiosity, what sort of lives they led. Some of them fascinated me. Others filled me with terror. There was an exquisite poison in the air. I had a passion for sensations.

Sun,” she’d instructed, pointing at a picture. “Child,” she’d read in turn, pointing at a little girl named Gretel eating a candied house shutter. That a child would eat a shutter did not surprise Six-Thirty. In the park, children ate everything. This included whatever they could find up their nose.

Perhaps it was that I wanted to see what I had learned, what I had read, what I had imagined, that I would never be able to see the city of London without seeing it through the overarching scrim of every description of it I had read before. When I turn the corner into a small, quiet, leafy square, am I really seeing it fresh, or am I both looking and remembering? [...] This is both the beauty and excitement of London, and its cross to bear, too. There is a tendency for visitors to turn the place into a theme park, the Disney World of social class, innate dignity, crooked streets, and grand houses, with a cavalcade of monarchs as varied and cartoony as Mickey Mouse, Snow White, and, at least in the opinion of various Briths broadhseets, Goofy. They come, not to see what London is, or even what it was, but to confirm a kind of picture-postcard view of both, all red telephone kiosks and fog-wreathed alleyways.

In the parlor was a huge camera on wheels like the ones used in public parks, and the backdrop of a marine twilight, painted with homemade paints, and the walls papered with pictures of children at memorable moments: the first Communion, the bunny costume, the happy birthday. Year after year, during contemplative pauses on afternoons of chess, Dr. Urbino had seen the gradual covering over of the walls, and he had often thought with a shudder of sorrow that in the gallery of casual portraits lay the germ of the future of the city, governed and corrupted by those unknown children, where note even the ashes of his glory would remain.

My heart sank within me to behold that stately mansion in the midst of its expansive grounds — the park as beautiful now, in its wintry garb, as it could be in its summer glory; the majestic sweep, the undulating swell and fall, displayed to full advantage in that robe of dazzling purity, stainless and printless — save one long, winding track left by the trooping deer — the stately timber-trees with their heavy laden branches gleaming white against the full, grey sky; the deep, encircling woods; the broad expanse of water sleeping in frozen quiet; and the weeping ash and willow drooping their snowclad boughs above it — all presented a picture, striking, indeed, and pleasing to an unencumbered mind, but by no means encouraging to me.

When you walked through a park, the immersive world that surrounded you was something that existed inside your own brain as a pattern of neurons firing. The sensation of a bright blue sky wasn't something high above you, it was something in your visual cortex, and your visual cortex was in the back of your brain. All the sensations of that bright world were really happening in that quiet cave of bone you called your skull, the place where you lived and never, ever left. If you really wanted to say hello to someone, to the actual person, you wouldn't shake their hand, you'd knock gently on their skull and say "How are you doing in there?" That was what people were, that was where they really lived. And the picture of the park that you thought you were walking through was something that was visualized inside your brain as it processed the signals sent down from your eyes and retina. It wasn't a lie like the Buddhists thought, there wasn't something terribly mystical and unexpected behind the veil of Maya, what lay beyond the illusion of the park was just the actual park, but it was all still illusion.

It seemed as if nothing were to break that tie — as if the years were merely to compact and cement it; and as if those years were to be all the years of their natural lives. Eighteen-forty-two turned into eighteen-forty-three; eighteen-forty-three into eighteen- forty-four; eighteen-forty-four into eighteen-forty-five. Flush was no longer a puppy; he was a dog of four or five; he was a dog in the full prime of life — and still Miss Barrett lay on her sofa in Wimpole Street and still Flush lay on the sofa at her feet. Miss Barrett’s life was the life of “a bird in its cage.” She sometimes kept the house for weeks at a time, and when she left it, it was only for an hour or two, to drive to a shop in a carriage, or to be wheeled to Regent’s Park in a bath-chair. The Barretts never left London. Mr. Barrett, the seven brothers, the two sisters, the butler, Wilson and the maids, Catiline, Folly, Miss Barrett and Flush all went on living at 50 Wimpole Street, eating in the dining-room, sleeping in the bedrooms, smoking in the study, cooking in the kitchen, carrying hot-water cans and emptying the slops from January to December. The chair-covers became slightly soiled; the carpets slightly worn; coal dust, mud, soot, fog, vapours of cigar smoke and wine and meat accumulated in crevices, in cracks, in fabrics, on the tops of picture-frames, in the scrolls of carvings. And the ivy that hung over Miss Barrett’s bedroom window flourished; its green curtain became thicker and thicker, and in summer the nasturtiums and the scarlet runners rioted together in the window-box. But one night early in January 1845 the postman knocked. Letters fell into the box as usual. Wilson went downstairs to fetch the letters as usual. Everything was as usual — every night the postman knocked, every night Wilson fetched the letters, every night there was a letter for Miss Barrett. But tonight the letter was not the same letter; it was a different letter. Flush saw that, even before the envelope was broken. He knew it from the way that Miss Barrett took it; turned it; looked at the vigorous, jagged writing of her name.

I remember [Meyer] Schapiro telling us that before Cézanne, there had always been a place in landscape painting where the viewer could walk into the picture. There was an entrance; you could go there, like walking into a park. But this was not true of Cézanne’s landscapes, which were cut off absolutely, abstracted from their context. You could not walk into them—you could enter them only through art, by leaping. Anatole Broyard, Kafka Was the Rage

Paper is first year,' I said. At the end of Year One's unexpectedly wrenching treasure hunt, Amy presented me with a set of posh stationery, my initials embossed at the top, the paper so creamy I expected my fingers to come away moist. In return, I'd presented my wife with a bright red dime-store paper kite, picturing the park, picnics, warm summer gusts. Neither of us liked our presents; we's each have preferred the other's. It was a reverse O. Henry.

What’s the, like, symbol, for five years? Paper?” “Paper is first year,” I said. At the end of Year One’s unexpectedly wrenching treasure hunt, Amy presented me with a set of posh stationery, my initials embossed at the top, the paper so creamy I expected my fingers to come away moist. In return, I’d presented my wife with a bright red dime-store paper kite, picturing the park, picnics, warm summer gusts. Neither of us liked our presents; we’d each have preferred the other’s. It was a reverse O. Henry. “Silver?” guessed Go. “Bronze? Scrimshaw? Help me out.” “Wood,” I said. “There’s no romantic present for wood.” At the other end of the bar, Sue neatly folded her newspaper and left it on the bartop with her empty mug and a five-dollar bill. We all exchanged silent smiles as she walked out. “I got it,” Go said. “Go home, fuck her brains out, then smack her with your penis and scream, ‘There’s some wood for you, bitch!’ 

Epistle to Miss Blount, On Her Leaving the Town, After the Coronation" As some fond virgin, whom her mother’s care Drags from the town to wholesome country air, Just when she learns to roll a melting eye, And hear a spark, yet think no danger nigh; From the dear man unwillingly she must sever, Yet takes one kiss before she parts for ever: Thus from the world fair Zephalinda flew, Saw others happy, and with sighs withdrew; Not that their pleasures caused her discontent, She sighed not that They stayed, but that She went. She went, to plain-work, and to purling brooks, Old-fashioned halls, dull aunts, and croaking rooks, She went from Opera, park, assembly, play, To morning walks, and prayers three hours a day; To pass her time ‘twixt reading and Bohea, To muse, and spill her solitary tea, Or o’er cold coffee trifle with the spoon, Count the slow clock, and dine exact at noon; Divert her eyes with pictures in the fire, Hum half a tune, tell stories to the squire; Up to her godly garret after seven, There starve and pray, for that’s the way to heaven. Some Squire, perhaps, you take a delight to rack; Whose game is Whisk, whose treat a toast in sack, Who visits with a gun, presents you birds, Then gives a smacking buss, and cries – No words! Or with his hound comes hollowing from the stable, Makes love with nods, and knees beneath a table; Whose laughs are hearty, tho’ his jests are coarse, And loves you best of all things – but his horse. In some fair evening, on your elbow laid, Your dream of triumphs in the rural shade; In pensive thought recall the fancied scene, See Coronations rise on every green; Before you pass th’ imaginary sights Of Lords, and Earls, and Dukes, and gartered Knights; While the spread fan o’ershades your closing eyes; Then give one flirt, and all the vision flies. Thus vanish scepters, coronets, and balls, And leave you in lone woods, or empty walls. So when your slave, at some dear, idle time, (Not plagued with headaches, or the want of rhyme) Stands in the streets, abstracted from the crew, And while he seems to study, thinks of you: Just when his fancy points your sprightly eyes, Or sees the blush of soft Parthenia rise, Gay pats my shoulder, and you vanish quite; Streets, chairs, and coxcombs rush upon my sight; Vexed to be still in town, I knit my brow, Look sour, and hum a tune – as you may now.

As the author of Lost Wife, Saw Barracuda - True Stories from a Sharm el Sheikh Scuba Diving Instructor, I know a thing or two about guide books but I have never quite seen anything like the Buns Guide before. There is certainly nothing arse-about-face with this book and indeed you have to admire the author's cheek, although thankfully he didn't include a photo of it here! What shines through in this quality-produced book is "Stryke" Clayton's intelligence, wit and ability to get away with a subject normally found in magazines and websites of questionable pedigree. The result is a hilarious and surprisingly tasteful book written by someone who would probably feel at home in the cast of Monty Python's Flying Circus. The Buns Guide is a great poke in the ribs at those nature guide books and the plastic animal or fish identity picture cards they sell in national parks around the world. With so many parts to the female anatomy I'm sure the author may well be considering a sequel or two? A great read, very funny and a well-produced book. Full marks here!

I still carry the weight of being a rape survivor, and of the demand that I forgive and forget to uphold the myth of the perfect black family. I carry the weight handed to me by the Black moral majority, who ignored my father's crimes and who knows how many other men's, who tried to buy off a terrified thirteen year old with a one-day trip to an amusement park. They were so desperate to project the image of the respectable, righteous, picture-perfect Black family to the world that they were willing to let women and girls in the picture suffer.

That's the way it sometimes goes for me: I start on a new series of pictures and right away, in some kind of perverse bait-and-switch, I get a good one. This freak of a good picture inevitably inspires a cocky confidence, making me think this new project will be a stroll in the park. But, then, after sometimes two or three more good ones, the next dozen are duds, and that cavalier stroll becomes an uphill slog. It isn't long before I have to take a breather, having reached the first significant plateau of doubt and lightweight despair. The voice of that despair suggests seducingly to me that I should give it up, that I'm a phony, that I've made all the good pictures I'm ever going to, and I have nothing more worth saying. That voice is easy to believe, and, as photographer and essayist (and my early mentor) Ted Orland has noted, it leaves me with only two choices: I can resume the slog and take more pictures, thereby risking further failure and despair, or I can guarantee failure and despair by not making more pictures. It's essentially a decision between uncertainty and certainty and, curiously, uncertainty is the comforting choice.

His house was certainly peculiar, and since this was the first thing that Fenchurch and Arthur had encountered it would help to know what it was like. It was like this: It was inside out. Actually inside out, to the extent that they had had to park on the carpet. All along what one would normally call the outer wall, which was decorated in a tasteful interior-designed pink, were bookshelves, also a couple of those odd three-legged tables with semicircular tops which stand in such a way as to suggest that someone just dropped the wall straight through them, and pictures which were clearly designed to soothe. Where it got really odd was the roof. It folded back on itself like something that M. C. Escher, had he been given to hard nights on the town, which it is no part of this narrative’s purpose to suggest was the case, though it is sometimes hard, looking at his pictures, particularly the one with all the awkward steps, not to wonder, might have dreamed up after having been on one, for the little chandeliers which should have been hanging inside were on the outside pointing up. Confusing. The sign above the front door said “Come Outside,” and so, nervously, they had. Inside, of course, was where the Outside was. Rough brickwork, nicely done pointing, guttering in good repair, a garden path, a couple of small trees, some rooms leading off. And the inner walls stretched down, folded curiously, and opened at the end as if, by an optical illusion which would have had M. C. Escher frowning and wondering how it was done, to enclose the Pacific Ocean itself. “Hello,” said John Watson, Wonko the Sane. Good, they thought to themselves, “hello” is something we can cope with. “Hello,” they said, and all, surprisingly, was smiles.

The whole party rose accordingly, and under Mrs. Rushworth's guidance were shewn through a number of rooms, all lofty, and many large, and amply furnished in the taste of fifty years back, with shining floors, solid mahogany, rich damask, marble, gilding, and carving, each handsome in its way. Of pictures there were abundance, and some few good, but the larger part were family portraits, no longer anything to anybody but Mrs. Rushworth, who had been at great pains to learn all that the housekeeper could teach, and was now almost equally well qualified to shew the house. On the present occasion she addressed herself chiefly to Miss Crawford and Fanny, but there was no comparison in the willingness of their attention; for Miss Crawford, who had seen scores of great houses, and cared for none of them, had only the appearance of civilly listening, while Fanny, to whom everything was almost as interesting as it was new, attended with unaffected earnestness to all that Mrs. Rushworth could relate of the family in former times, its rise and grandeur, regal visits and loyal efforts, delighted to connect anything with history already known, or warm her imagination with scenes of the past.

Old snow was layered over the ground, the parked cars that hadn’t been disturbed, the tough little shrubs that would bear the snow’s impossible weight until spring. She could feel her own brittleness as the frozen air did battle with her coat. It was no worse than Chicago, it might even have been two degrees warmer, and still it was like walking into a wall of broken glass. She pictured those early settlers in their covered wagons crossing the prairies in search of a better life. Why did they stop here? Were the horses lame? Was it springtime? Were they so hungry that they brought their wagons to a halt and said, This is far enough?

The results of the most recent such study were published in Psychological Science at the end of 2008. A team of University of Michigan researchers, led by psychologist Marc Berman, recruited some three dozen people and subjected them to a rigorous, and mentally fatiguing, series of tests designed to measure the capacity of their working memory and their ability to exert top-down control over their attention. The subjects were then divided into two groups. Half of them spent about an hour walking through a secluded woodland park, and the other half spent an equal amount of time walking along busy down town streets. Both groups then took the tests a second time. Spending time in the park, the researchers found, “significantly improved” people’s performance on the cognitive tests, indicating a substantial increase in attentiveness. Walking in the city, by contrast, led to no improvement in test results. The researchers then conducted a similar experiment with another set of people. Rather than taking walks between the rounds of testing, these subjects simply looked at photographs of either calm rural scenes or busy urban ones. The results were the same. The people who looked at pictures of nature scenes were able to exert substantially stronger control over their attention, while those who looked at city scenes showed no improvement in their attentiveness. “In sum,” concluded the researchers, “simple and brief interactions with nature can produce marked increases in cognitive control.” Spending time in the natural world seems to be of “vital importance” to “effective cognitive functioning.

Why aren't you in school? I see you every day wandering around." "Oh, they don't miss me," she said. "I'm antisocial, they say. I don't mix. It's so strange. I'm very social indeed. It all depends on what you mean by social, doesn't it? Social to me means talking to you about things like this." She rattled some chestnuts that had fallen off the tree in the front yard. "Or talking about how strange the world is. Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That's not social to me at all. It's a lot of funnels and lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?

The male staff all wore gorgeous colored loin cloths that always seem to be about to fall off they’re wonderful hips. Their upper bodies were tanned sculpted and naked. The female staff wore short shorts and silky flowing tops that almost but didn’t expose their young easy breasts. I noticed we only ever encountered male staff, and the men walking through the lobby were always greeted by the female staff. Very ingenious, as Rebecca said later - if we had ticked Lesbians on the form I wonder what would have happened? -There was a place to tick for Lesbians, I said ? -Sexual Persuasion- it was on all the forms -Really. And, how many options were there? -You’re getting the picture, said Jillian. This was not your basic check in procedure as at say a Best Western. Our Doormen/Security Guards , held out our chairs for us to let us sit at the elegant ornate table. Then they poured us tea, and placed before each of us a small bowl of tropical fruit, cut into bite size pieces. Wonderful! Almost immediately a check in person came and sat opposite us at the desk. Again a wonderful example of Island Male talent. (in my mind anyway) We signed some papers, and were each handed an immense wallet of information passes, electronic keys, electronic ID’s we would wear to allow us to move through the park and its ‘worlds’ and a small flash drive I looked at it as he handed it to me, and given the mindset of the Hotel and the murals and the whole ambiance of the place, I was thinking it might be a very small dildo for, some exotic move I was unaware of. -What’s this? I asked him -Your Hotel and Theme Park Guide I looked at it again, huh, so not a dildo.

This, too, was like seeing double. This was where my heartaches began. In combat zones there is no structure, the form of things changes all the time. Safety, danger, control, panic, these and other labels constantly attach and detach themselves from places and people. When you emerge from such a space it stays with you, its otherness randomly imposes itself on the apparent stability of your peaceful home-town streets. What-if becomes the truth, you imagine buildings exploding in Gramercy Park, you see craters appear in the middle of Washington Square, and women carrying shopping bags drop dead on Delancey Street, bee-stung by sniper fire. You take pictures of your small patch of Manhattan and ghost images begin to appear in them, negative phantoms of the distant dead. Double exposure: like Kirlian photography, it becomes a new kind of truth.

He bought her flowers and took her to the Timmerman Opera House down the block. He gave her a bicycle. They spent evenings riding together on the smooth macadam of Yale and Harvard streets, the picture of a happy young couple blessed with looks and money. (“White pique hats with black watered-ribbon bands and a couple of knife feathers set at the side are the latest novelty for women cyclists,” the Tribune’s society column observed.) As Emeline became more accustomed to her “wheel,” a term everyone still used even though the old and deadly huge-wheeled bicycles of the past had become thoroughly obsolete, she and Holmes took longer and longer rides and often rode along the willowed Midway to Jackson Park to watch the construction of the world’s fair, where inevitably they found themselves among thousands of other people, many of them also bicyclists

Folks take after they folks. That’s the law of nature. The thing about not watching my mother get old is that I wasn’t never sure what I was gonna get, cause if you don’t got your folks to look at, if all you got is a little picture of a woman standing beside a cactus, a picture took by a man who weren’t even your daddy, then you don’t got a good idea really of where yr headed. When I seen her bones I knew what we all knew, that we’s all gonna end up in a grave someday, but there’s stops in between there and now. Right now I got my first child running around in the yard and another one on the way. Five years from now Laz gives me Mother’s diamond ring back. He’d never sold it in Dallas. The money he brought back was from his savings. Dill’s hog farm is going pretty good. Uncle Teddy’s got another church. There’s lots of things between now and them bones.

What made the process still longer was that it was profusely illustrated, not only with pictures, as that of old Queen Elizabeth, laid on her tapestry couch in rose-coloured brocade with an ivory snuff-box in her hand and a gold-hilted sword by her side, but with scents — she was strongly perfumed — and with sounds; the stags were barking in Richmond Park that winter’s day. And so, the thought of love would be all ambered over with snow and winter; with log fires burning; with Russian women, gold swords, and the bark of stags; with old King James’ slobbering and fireworks and sacks of treasure in the holds of Elizabethan sailing ships. Every single thing, once he tried to dislodge it from its place in his mind, he found thus cumbered with other matter like the lump of glass which, after a year at the bottom of the sea, is grown about with bones and dragon-flies, and coins and the tresses of drowned women.

When we arrived in England, we could almost feel the excitement in the air. Banners, pictures, and other decorations hung everywhere, and the streets were packed with people waiting to celebrate the wedding of the century. The formal party in honor of the royal match was held on the evening of Monday, July 27--two nights before the wedding. That day I felt nervous with anticipation as I lunched with a friend and went to the hairdresser. Pat met Exxon colleagues for lunch near their office in Mayfair. As he described our plans for the upcoming ball and wedding, Pat began to feel totally overwhelmed by the importance and glamour of these royal events. So my darling husband excused himself, walked over to Green Park just across from the palace, and simply collapsed with nervous strain to nap on a quiet patch of grass for the afternoon. I’ve always envied his ability to tune out and relax when he’s under stress; I get tense and can’t eat or sleep.

The little car was soon free of the city, for the smear of suburbia that had once lain along the western highways for miles was gone. During the Plague Years of the eighties, when in some areas not one person in twenty remained alive, the suburbs were not a good place to be. Miles from the supermart, no gas for the car, and all the split-level ranch homes around you full of the dead. No help, no food. Packs of huge status-symbol dogs—Afghans, Alsatians, Great Danes—running wild across the lawns ragged with burdock and plantain. Picture window cracked. Who’ll come and mend the broken glass? People had huddled back into the old core of the city; and once the suburbs had been looted, they burned. Like Moscow in 1812, acts of God or vandalism: they were no longer wanted, and they burned. Fireweed, from which bees make the finest honey of all, grew acre after acre over the sites of Kensington Homes West, Sylvan Oak Manor Estates, and Valley Vista Park.

When asked if he had a special feeling for books, critic-turned-filmmaker Francois Truffaut answered, "No. I love them and films equally, but how I love them!" As an example, Truffaut gave the example that his feeling of love for "Citizen Kane" (USA, 1941) "is expressed in that scene in 'The 400 Blows' where Antoine lights a candle before the picture of Balzac.' My book lights candles for m any of the great authors of this world: Chinua Achebe (Nigeria), Angela Carter (UK), Saratchandra Chattopadhyay (India), Janet Frame (New Zealand), Yu Hua (China), Stieg Larsson (Sweden), Clarice Lispector (Brazil), Mario Vargas Llosa (Peru), Naguib Mifouz (Egypt), Murasaki Shikibu (Japan), and Alice Walker (USA) - to name but a few. Furthermore, graphic novels, manga, musicals, television, webisodes and even amusement park rides like 'Pirates of the Caribbean' can inspire work in adaptation. Let's be open to learning from them all. ("Great Adaptations: Screenwriting and Global Storytelling," 2)

Later, this desire will invade and overwhelm me. It will begin, in the classic way, with an urge to travel to new places, destinations selected from maps and picture postcards. I will take trains, boats, planes, I will embrace Europe, discover London, a youth hostel next to Paddington Station, a Bronski Beat concert, thrift stores, the speakers of Hyde Park, beer gardens, darts, tawdry nights, Rome, walks among the ruins, finding shelter under the umbrella pines, tossing coins into fountains, watching boys with slicked-back hair whistle at passing girls. Barcelona, drunken wanderings along La Rambla and accidental meetings late on the waterfront. Lisbon and the sadness that’s inevitable before such faded splendor. Amsterdam with her mesmerizing volutes and red neon. All the things you do when you’re twenty years old. The desire for constant movement will come after, the impossibility of staying in one place, the hatred of the roots that hold you there, Doesn’t matter where you go, just change the scenery,

We'd reached the parking lot. Alex stopped. "You drive to school?" I demanded. He gestured me ahead of him through the break in the chain fence. "We don't all live five blocks away," he shot back. "It's eight, actually." "Fine,eight. And sometimes I walk." I pictured the stretch between Willing and Society Hill, where I knew he lived somewhere near Sadie. It was quite a distance, and not a particularly scenic one, especially at seven thirty in the morning. "Yeah? When was the last time?" He didn't answer immediately, leading the way now between the parked cars. He passed a big Jeep that still had its dealer plates, a low-slung-two-door Lexus, and a sick black BMW that all looked like just the sort of cars he would own. "April of last year," he admitted finally. "But it pissed rain on me the whole time, so that's gotta count for something." He stopped by the dented passenger door of an old green Mustang. "Your carriage, my lady." "Really? This is your car?" The door made a very scary sound when he opened it. "It's clean," he snapped, and I realized he'd totally missed my point. "It's amazing.

The Smiths were unable to conceive children and decided to use a surrogate father to start their family. On the day the surrogate father was to arrive, Mr. Smith kissed his wife and said, "I'm off. The man should be here soon" Half an hour later, just by chance a door-to-door baby photographer rang the doorbell, hoping to make a sale. "Good morning, madam. I've come to...." "Oh, no need to explain. I've been expecting you," Mrs. Smith cut in. "Really?" the photographer asked. "Well, good. I've made a specialty of babies" "That's what my husband and I had hoped. Please come in and have a seat" After a moment, she asked, blushing, "Well, where do we start?" "Leave everything to me. I usually try two in the bathtub, one on the couch and perhaps a couple on the bed. Sometimes the living room floor is fun too; you can really spread out!" "Bathtub, living room floor? No wonder it didn't work for Harry and me" "Well, madam, none of us can guarantee a good one every time. But, if we try several different positions and I shoot from six or seven different angles, I'm sure you'll be pleased with the results" "My, that's a lot of....." gasped Mrs. Smith. "Madam, in my line of work, a man must take his time. I'd love to be in and out in five minutes, but you'd be disappointed with that, I'm sure"  "Don't I know it," Mrs. Smith said quietly. The photographer opened his briefcase and pulled out a portfolio of his baby pictures. "This was done on the top of a bus in downtown London" "Oh my God!" Mrs. Smith exclaimed, tugging at her handkerchief. "And these twins turned out exceptionally well, when you consider their mother was so difficult to work with" "She was difficult?" asked Mrs. Smith. "Yes, I'm afraid so. I finally had to take her to Hyde Park to get the job done right. People were crowding around four and five deep, pushing to get a good look" "Four and five deep?" asked Mrs. Smith, eyes widened in amazement. "Yes," the photographer said, "And for more than three hours too. The mother was constantly squealing and yelling. I could hardly concentrate. Then darkness approached and I began to rush my shots. Finally, when the squirrels began nibbling on my equipment, I just packed it all in." Mrs. Smith leaned forward. "You mean squirrels actually chewed on your, um......equipment?" "That's right. Well, madam, if you're ready, I'll set up my tripod so we  can get to work." "Tripod?????" "Oh yes, I have to use a tripod to rest my Canon on. It's much too big for me to hold for very long. Madam? Madam? ....... Good Lord, she's fainted!!

Well, I’ll tell you. You know this new photographic process they’ve invented? It’s called Pathé. It makes everything seem lifelike. The hues and coloration are magnificent. Well, then, what I would do, if I were custodian of your park, is I’d hire a dozen of the best photographers in the world. I’d build them cabins in Yosemite Valley and pay them something and give them all the film they wanted. I’d say, ‘This park is yours. It’s yours for one year. I want you to take photographs in every season. I want you to capture all the colors, all the waterfalls, all the snow, and all the majesty. I especially want you to photograph the rivers. In the early summer, when the Merced River roars, I want to see that.’ And then I’d leave them be. And in a year I’d come back, and take their film, and send it out and have it developed and treated by Pathé. And then I would print the pictures in thousands of books and send them to every library. I would urge every magazine in the country to print them and tell every gallery and museum to hang them. I would make certain that every American saw them. And then,” Mulholland said slowly, with what Albright remembered as a vulpine grin, “and then do you know what I would do? I’d go in there and build a dam from one side of that valley to the other and stop the goddamned waste!

This week we'll be learning about key elements of high quality picture books. Using the award winner lists in our course materials, select one picture book and share why it received its award. For example, Abuela is listed in the 100 Picture Books Everyone Should Know. According to Publishers Weekly, this is why it's so good: "In this tasty trip, Rosalba is "always going places" with her grandmother--abuela . During one of their bird-feeding outings to the park, Rosalba wonders aloud, "What if I could fly?" Thus begins an excursion through the girl's imagination as she soars high above the tall buildings and buses of Manhattan, over the docks and around the Statue of Liberty with Abuela in tow. Each stop of the glorious journey evokes a vivid memory for Rosalba's grandmother and reveals a new glimpse of the woman's colorful ethnic origins. Dorros's text seamlessly weaves Spanish words and phrases into the English narrative, retaining a dramatic quality rarely found in bilingual picture books. Rosalba's language is simple and melodic, suggesting the graceful images of flight found on each page. Kleven's ( Ernst ) mixed-media collages are vibrantly hued and intricately detailed, the various blended textures reminiscent of folk art forms. Those searching for solid multicultural material would be well advised to embark.

Beyond a fence, they came to the swimming pool, which spilled over into a series of waterfalls and smaller rocky pools. The area was planted with huge ferns. “Isn’t this extraordinary?” Ed Regis said. “Especially on a misty day, these plants really contribute to the prehistoric atmosphere. These are authentic Jurassic ferns, of course.” Ellie paused to look more closely at the ferns. Yes, it was just as he said: Serenna veriformans, a plant found abundantly in fossils more than two hundred million years old, now common only in the wetlands of Brazil and Colombia. But whoever had decided to place this particular fern at poolside obviously didn’t know that the spores of veriformans contained a deadly beta-carboline alkaloid. Even touching the attractive green fronds could make you sick, and if a child were to take a mouthful, he would almost certainly die—the toxin was fifty times more poisonous than oleander. People were so naïve about plants, Ellie thought. They just chose plants for appearance, as they would choose a picture for the wall. It never occurred to them that plants were actually living things, busily performing all the living functions of respiration, ingestion, excretion, reproduction—and defense. But Ellie knew that, in the earth’s history, plants had evolved as competitively as animals, and in some ways more fiercely. The poison in Serenna veriformans was a minor example of the elaborate chemical arsenal of weapons that plants had evolved. There were terpenes, which plants spread to poison the soil around them and inhibit competitors; alkaloids, which made them unpalatable to insects and predators (and children); and pheromones, used for communication. When a Douglas fir tree was attacked by beetles, it produced an anti-feedant chemical—and so did other Douglas firs in distant parts of the forest. It happened in response to a warning alleochemical secreted by the trees that were under attack. People who imagined that life on earth consisted of animals moving against a green background seriously misunderstood what they were seeing. That green background was busily alive. Plants grew, moved, twisted, and turned, fighting for the sun; and they interacted continuously with animals—discouraging some with bark and thorns; poisoning others; and feeding still others to advance their own reproduction, to spread their pollen and seeds. It was a complex, dynamic process which she never ceased to find fascinating. And which she knew most people simply didn’t understand. But if planting deadly ferns at poolside was any indication, then it was clear that the designers of Jurassic Park had not been as careful as they should have been.

Trains are about getting from point A to point B in a timely, efficient manner. They rumble through town on a predetermined path, with a sequence of stops to make and a schedule to keep. A train has a plan, and the plan moves in one direction, with little regard for anyone or anything beyond its path. It’s no surprise that cities and towns turn their worst side to the tracks. A park, on the other hand, is the opposite. A park has no agenda and makes no exclusions. It is welcoming, lovely, and nurturing. It is a forum for life; a congregation of unscheduled joy, laughter, and leisure. Cities bring their most important events to parks: weddings, recreation, picnics, relaxation. People bring life to the park because the park invites them in, no matter who they are. No ticket required. No schedule to obey. The parks, in a word, are turned outward; the tracks are turned inward. The parks give unceasingly to their community; the train rumbles through. This is a picture of how we can approach our loves: We can choose to be trains or parks. We can plan our lives with rigid precision, ignore everyone who isn’t sitting beside us, and simply forge ahead with our own agenda. Or, we can be present in our lives and open ourselves up to the chaos of love. I’m sure we can all think of examples of people in our own lives, whether married or not, who operate as trains and who operate as parks.

Joanne Sanders, a broad woman in her forties, posed with friends, family, and Snowball in photographs displayed on the mantel of the fake fireplace. She had shoulder-length brown hair and bangs teased high above her brow. I could picture her behind ten inches of bulletproof glass sneering at me with gloss-encased lips for filling out my deposit slip incorrectly. I fed Snowball half a cup of kibble and a spoonful of wet food as my envelope of information directed. She ate it quickly while making funny little squeaking noises. Once she had licked her bowl to a bright sheen, we headed out for my first walk as a dog-walker. I steered us off of East End Avenue and onto the esplanade that runs along the river. The water reflected the sun in bright silver glints. I smelled oil and brine. We reached Carl Schurz Park and turned into the dog run for small dogs. The gate leading into the run reached only to my knees, as did the rest of the fence designed to keep small dogs in and big ones out. A sign on the gate read, "Dogs over 25 pounds not permitted." Ten dogs under 25 pounds, and one who was probably a little over, played together in the pen. Their owners, in groups of three or four, sat on worn wooden benches and talked about dogs. Snowball ran to join a poodle growling at a puppy. They intimidated it behind its owner's calves. Then the poodle, a miniature gray curly thing with long ears, mounted Snowball. I turned to the river and watched a giant barge inch by.

Kenilworth, Mountainside, Scotch Plains, Dunellen... they themselves seemed far from Jersey: names out of Waverley novels, promising vistas of castles, highland waterfalls, and meadows dotted with flocks of grazing sheep. But the signboards lied, the books had lied, the Times had lied; the land here was one vast and charmless suburb, and as the bus passed through it, speeding west across the state, Freirs saw before him only the flat grey monotony of highway, broken from time to time by gas stations, roadhouses, and shopping malls that stretched away like deserts. The bus was warm, and the ride was beginning to give him a headache. He could feel the backs of his thighs sweating through his chinos. Easing himself farther into the seat, he pushed up his glasses and rubbed his eyes. The scenery disappointed him, yet it was still an improvement over what they'd just come through. Back there, on the fringes of the city, every work of man seemed to have been given over to the automobile, in an endless line of showrooms and repair shops for mufflers, fenders, carburetors, ignitions, tires, brakes. Now at last he could make out hills in the distance and extended zones of green, though here and there the nearness of some larger town or development meant a length of highway lined by construction, billboards touting banks or amusement parks, and drive-in theaters, themselves immense blank billboards, their signs proclaiming horror movies, "family pictures," soft-core porn. A speedway announced that next Wednesday was ladies' night. Food stands offered pizzaburgers, chicken in the basket, fish 'n' chips.

At the time that he had seriously begun to consolidate his organization, Parker was working in a custom photo lab. The reader who is not much taken by audiovisual pastimes may have a deficient picture of that place where Parker was employed; or perhaps not so much a deficient picture--the dyes faded, shoddily spotted, brutishly burned in and doltishly dodged by subhuman technicians under the glare of the enlargers--as an image which had been misfiled in the archives of the memory, representing instead one of those bleak Photo Drive-Ups and Presto Printses located nowadays on the corner of almost every large parking lot, in which the clerks wait sadly behind their glass counters, but no one comes in, and the air becomes darker and darker over the course of the morning as a result of exhaust fumes (there goes another brain cell; ping! - THAT thought will never be completed now); and the pink chubby tots smiling at your from the walls in sample enlargements become steadily more grimy, and by the lunch break they are brown; and the day ticks off on the loud digital clock; and then finally a car creeps into the lot, and a popeyed couple locks that vehicle doors listlessly; they request a reprint of a washed-out snapshot of their son who was killed in the Indian Wars, and they go away; and after a long time here comes a slick-haired teenager who once took a few pix of his girlfriend holding a balloon at the zoo in front of the monkey cage on a dirty overcast day, and the clerk can tell just by looking at this customer that they won’t come out, because the guy’s a loser if the clerk knows anything at all about losers and in fact he knows a hell of a lot about losers because why else would he be stuck with this job?

Tinker Bell, meanwhile, was drifting with purpose up to the highest leafy branches of the jungle. Her light glowed warmly off the leaves below, the droplets seeping off their thick veins, the sweet sap running down the trunks of the trees. It made the whole clearing look... Well, like it was touched by fairies, Wendy thought with a smile. All her life she had looked for fairies in more mundane places, experiencing a rush of hope and warmth whenever a scene even palely imitated the one before here now. Candles at Christmas, fireflies in the park, flickering lamps in teahouses. The sparkling leaded glass windows of a sweets shop on winter afternoons when dusk came at four. A febrile, glowing crisscross of threads on a rotten log her cousin had once shown her out in the country: fox fire, magical mushrooms. And here it was, for real! Tinker Bell was performing what appeared to be a slow and majestic dance. First, she moved to specific points in the air around her, perhaps north, south, east, and west, twirling a little at each stop. Then she flew back to the center and made a strange bowing motion, keeping her tiny feet daintily together and putting her arms out gracefully like a swan. As she completed each movement, fairy dust fell from her wings in glittering, languorous trails, hanging in the air just long enough to form shapes. She started the dance over again, faster this time. And again even faster. Her trail of sparkles almost resolved into a picture, crisscrossed lines constantly flowing slowly down like drips of luminous paint. Wendy felt a bit like John, overwhelmed with a desire to try to reduce and explain and thereby translate the magic. But she also felt a lot like Michael, with an almost overwhelming urge to break free from her hiding place and see it up close, to feel the sparkles on her nose, to run a hand through the sigils not for the purpose of destruction but form a hapless, joyful desire to be part of it all.

I turn to see what she’s looking at, and it’s a red convertible Mustang driving down our street, top down--with John McClaren at the wheel. My jaw drops at the sight of him. He is in full uniform: tan dress shirt with tan tie, tan slacks, tan belt and hat. His hair is parted to the side. He looks dashing, like a real soldier. He grins at me and waves. “Whoa,” I breathe. “Whoa is right,” Ms. Rothschild says, googly-eyed beside me. Daddy and his Ken Burns DVD are forgotten; we are all staring at John in this uniform, in this car. It’s like I dreamed him up. He parks the car in front of the house, and all of us rush up to it. “Whose car is this?” Kitty demands. “It’s my dad’s,” John says. “I borrowed it. I had to promise to park really far away from any other car, though, so I hope your shoes are comfortable, Lara Jean--” He breaks off and looks me up and down. “Wow. You look amazing.” He gestures at my cinnamon bun. “I mean, your hair looks so…real.” “It is real!” I touch it gingerly, I’m suddenly feeling self-conscious about my cinnamon-bun head and red lipstick. “I know--I mean, it looks authentic.” “So do you,” I say. “Can I sit in it?” Kitty butts in, her hand on the passenger-side door. “Sure,” John says. He climbs out of the car. “But don’t you want to get in the driver’s seat?” Kitty nods quickly. Ms. Rothschild gets in too, and Daddy takes a picture of them together. Kitty poses with one arm casually draped over the steering wheel. John and I stand off to the side, and I ask him, “Where did you ever get that uniform?” “I ordered it off of eBay.” He frowns. “Am I wearing the hat right? Do you think it’s too small for my head?” “No way. I think it looks exactly the way it’s supposed to look.” I’m touched that he went to the trouble of ordering a uniform for this. I can’t think of many boys who would do that. “Stormy is going to flip out when she sees you.” He studies my face. “What about you? Do you like it?” I flush. “I do. I think you look…super.

I want you both to show me how much you know about each other,” he began. “I want you both to make me a collage.” I looked at him for a moment. “A collage?” I asked. “Like, with magazine pictures and glue?” “That’s exactly right,” Father Johnson replied. “And it doesn’t have to be large or elaborate; just use a piece of legal-size paper as the backdrop. I want you to fill it with pictures that represent all the things you know about the other person. Bring it to your session next week, and we’ll look at them together.” This was an unexpected development. I made the mistake of glancing at Marlboro Man, who I imagined had never felt more uncomfortable in his life than he did once he faced the prospect of sitting down and working with paper and glue in an effort to prove to someone else how much he knew about the woman he was going to marry. He tried to keep a straight face, to remain respectful, but I’d studied his beautiful features enough to know when things were going on under the surface. Marlboro Man had been such a good sport through our series of premarital training. And this--a collage assignment--was his reward. I put on a happy face. “Well, that’ll be fun!” I said, enthusiastically. “We can sit down and do it together sometime this week…” “No, no, no…,” Father Johnson scolded, waving his hands at me. “You can’t do it together. The whole point is to independently sit down and make the collage without the other person present.” Father Johnson was awfully bossy. We shook hands, promised to bring our assignments to the following week’s appointment, and made our way to the parking lot. Once out of the church doors, Marlboro Man swatted me. “Ow!” I shrieked, feeling stung. “What was that for?” “Just your Tuesday spanking,” Marlboro Man answered. I smiled. I’d always loved Tuesdays. We hopped in the pickup, and Marlboro Man started the engine. “Hey,” he said, turning to me. “Got any magazines I can borrow?” I giggled as Marlboro Man pulled away from the church. “I could use some glue, too,” he added. “I don’t think I have any at my house.

I looked around and realized we were headed down a different road than Marlboro Man would normally take. “I have to give you your wedding present,” Marlboro Man said before I could ask where we were going. “I can’t wait a month before I give it to you.” Butterflies fluttered in my stomach. “But…,” I stammered. “I haven’t gotten yours yet.” Marlboro Man clasped my hand, continuing to look forward at the road. “Yes you have,” he said, bringing my hand to his lips and turning me to a pool of melted butter right in his big Ford truck. We wound through several curves in the road, and I tried to discern whether I’d been there before. My sense of direction was lousy; everything looked the same to me. Finally, just as the sun was dipping below the horizon, we came upon an old barn. Marlboro Man pulled up beside it and parked. Confused, I looked around. He got me a barn? “What…what are we doing here?” I asked. Marlboro Man didn’t answer. Instead, he just turned off the pickup, turned to me…and smiled. “What is it?” I asked as Marlboro Man and I exited the pickup and walked toward the barn. “You’ll see,” he replied. He definitely had something up his sleeve. I was nervous. I always hated opening gifts in front of the person who gave them to me. It made me uncomfortable, as if I were sitting in a dark room with a huge spotlight shining on my head. I squirmed with discomfort. I wanted to turn and run away. Hide in his pickup. Hide in the pasture. Lie low for a few weeks. I didn’t want a wedding present. I was weird that way. “But…but…,” I said, trying to back out. “But I don’t have your wedding present yet.” As if anything would have derailed him at that point. “Don’t worry about that,” Marlboro Man replied, hugging me around the waist as we walked. He smelled so good, and I inhaled deeply. “Besides, we can share this one.” That’s strange, I thought. Any fleeting ideas I’d had that he’d be giving me a shiny bracelet or sparkly necklace or other bauble suddenly seemed far-fetched. How could he and I share the same tennis bracelet? Maybe he got me one of those two-necklace sets, the ones with the halved hearts, I thought, and he’ll wear one half and I’ll wear the other. I couldn’t exactly picture it, but Marlboro Man had never been above surprising me. Then again, we were walking toward a barn.

I DON'T WANT to talk about me, of course, but it seems as though far too much attention has been lavished on you lately-that your greed and vanities and quest for self-fulfillment have been catered to far too much. You just want and want and want. You believe in yourself excessively. You don't believe in Nature anymore. It's too isolated from you. You've abstracted it. It's so messy and damaged and sad. Your eyes glaze as you travel life's highway past all the crushed animals and the Big Gulp cups. You don't even take pleasure in looking at nature photographs these days. Oh, they can be just as pretty as always, but don't they make you feel increasingly ... anxious? Filled with more trepidation than peace? So what's the point? You see the picture of the baby condor or the panda munching on a bamboo shoot, and your heart just sinks, doesn't it? A picture of a poor old sea turtle with barnacles on her back, all ancient and exhausted, depositing her five gallons of doomed eggs in the sand hardly fills you with joy, because you realize, quite rightly, that just outside the frame falls the shadow of the condo. What's cropped from the shot of ocean waves crashing on a pristine shore is the plastics plant, and just beyond the dunes lies a parking lot. Hidden from immediate view in the butterfly-bright meadow, in the dusky thicket, in the oak and holly wood, are the surveyors' stakes, for someone wants to build a mall exactly there-some gas stations and supermarkets, some pizza and video shops, a health club, maybe a bulimia treatment center. Those lovely pictures of leopards and herons and wild rivers-well, you just know they're going to be accompanied by a text that will serve only to bring you down. You don't want to think about it! It's all so uncool. And you don't want to feel guilty either. Guilt is uncool. Regret maybe you'll consider. Maybe. Regret is a possibility, but don't push me, you say. Nature photographs have become something of a problem, along with almost everything else. Even though they leave the bad stuff out-maybe because you know they're leaving all the bad stuff out-such pictures are making you increasingly aware that you're a little too late for Nature. Do you feel that? Twenty years too late? Maybe only ten? Not way too late, just a little too late? Well, it appears that you are. And since you are, you've decided you're just not going to attend this particular party.

I had this book when I was a little kid," Eddie said at last. He spoke in the flat tones of utter surety. "Then we moved from Queens to Brooklyn--I wasn't even four years old--and I lost it. But I remember the picture on the cover. And I felt the same way you do, Jake. I didn't like it. I didn't trust it." Susannah raised her eyes to look at Eddie. "I had it, too--how could I ever forget the little girl with my name...although of course it was my middle name back in those days. And I felt the same way about the train. I didn't like it and I didn't trust it." She tapped the front of the book with her finger before passing it on to Roland. "I thought that smile was a great big fake." Roland gave it only a cursory glance before returning his eyes to Susannah. "Did you lose yours, too?" "Yes." "And I'll bet I know when," Eddie said. Susannah nodded. "I'll bet you do. It was after that man dropped the brick on my head. I had it when we went north to my Aunt Blue's wedding. I had it on the train. I remember, because I kept asking my dad if Charlie the Choo-Choo was pulling us. I didn't WANT it to be Charlie, because we were supposed to go to Elizabeth, New Jersey, and I thought Charlie might take us anywhere. Didn't he end up pulling folks around a toy village or something like that, Jake?" "An amusement park." "Yes, of course it was. There's a picture of him hauling kids around that place at the end, isn't there? They're all smiling and laughing, except I always thought they looked like they were screaming to be let off." "Yes!" Jake cried. "Yes, that's right! That's JUST right!" "I thought Charlie might take us to HIS place--wherever he lived--instead of to my aunt's wedding, and never let us go home again." "You can't go home again," Eddie muttered, and ran his hands nervously through his hair. "All the time we were on that train I wouldn't let go of the book. I even remember thinking, 'If he tries to steal us, I'll rip out his pages until he quits.' But of course we arrived right where we were supposed to, and on time, too. Daddy even took me up front, so I could see the engine. It was a diesel, not a steam engine, and I remember that made me happy. Then, after the wedding, that man Mort dropped the brick on me and I was in a coma for a long time. I never saw Charlie the Choo-Choo after that. Not until now." She hesitated, then added: "This could be my copy, for all I know--or Eddie's." "Yeah, and probably is," Eddie said.

In 1995, the gray wolf was reintroduced to Yellowstone National Park after a seventy-year hiatus. Scientists expected an ecological ripple effect, but the size and scope of the trophic cascade took them by surprise.7 Wolves are predators that kill certain species of animals, but they indirectly give life to others. When the wolves reentered the ecological equation, it radically changed the behavioral patterns of other wildlife. As the wolves began killing coyotes, the rabbit and mouse populations increased, thereby attracting more hawks, weasels, foxes, and badgers. In the absence of predators, deer had overpopulated the park and overgrazed parts of Yellowstone. Their new traffic patterns, however, allowed the flora and fauna to regenerate. The berries on those regenerated shrubs caused a spike in the bear population. In six years’ time, the trees in overgrazed parts of the park had quintupled in height. Bare valleys were reforested with aspen, willow, and cottonwood trees. And as soon as that happened, songbirds started nesting in the trees. Then beavers started chewing them down. Beavers are ecosystem engineers, building dams that create natural habitats for otters, muskrats, and ducks, as well as fish, reptiles, and amphibians. One last ripple effect. The wolves even changed the behavior of rivers—they meandered less because of less soil erosion. The channels narrowed and pools formed as the regenerated forests stabilized the riverbanks. My point? We need wolves! When you take the wolf out of the equation, there are unintended consequences. In the absence of danger, a sheep remains a sheep. And the same is true of men. The way we play the man is by overcoming overwhelming obstacles, by meeting daunting challenges. We may fear the wolf, but we also crave it. It’s what we want. It’s what we need. Picture a cage fight between a sheep and a wolf. The sheep doesn’t stand a chance, right? Unless there is a Shepherd. And I wonder if that’s why we play it safe instead of playing the man—we don’t trust the Shepherd. Playing the man starts there! Ecologists recently coined a wonderful new word. Invented in 2011, rewilding has a multiplicity of meanings. It’s resisting the urge to control nature. It’s the restoration of wilderness. It’s the reintroduction of animals back into their natural habitat. It’s an ecological term, but rewilding has spiritual implications. As I look at the Gospels, rewilding seems to be a subplot. The Pharisees were so civilized—too civilized. Their religion was nothing more than a stage play. They were wolves in sheep’s clothing.8 But Jesus taught a very different brand of spirituality. “Foxes have dens and birds have nests,” said Jesus, “but the Son of Man has no place to lay his head.”9 So Jesus spent the better part of three years camping, fishing, and hiking with His disciples. It seems to me Jesus was rewilding them. Jesus didn’t just teach them how to be fishers of men. Jesus taught them how to play the man! That was my goal with the Year of Discipleship,

Davy, ever the daring one, bought a jumbo peppermint milk shake and got fifty cents back. He talked me out of getting plain vanilla. “You can get plain vanilla anytime!” he said. “Try…” He scanned the chalkboard that listed all the flavors. “Try peanut butter!” I did. I have never been sorry, because it was the best milk shake I ever tasted, like a melted and frozen Reese’s cup. And then it happened. We were walking across the parking lot, under the burning sun, with our shakes freezing our hands in the big white paper cups that had Spinnin’ Wheel in red across the sides. A sound began: music, first from a few car radios and then others as teenaged fingers turned the dial to that station. The volume dials were cranked up, and the music flooded out from the tinny speakers into the bright summer air. In a few seconds the same song was being played from every radio on the lot, and as it played, some of the car engines started and revved up and young laughter flew like sparks. I stopped. Just couldn’t walk anymore. That music was unlike anything I’d ever heard: guys’ voices, intertwining, breaking apart, merging again in fantastic, otherworldly harmony. The voices soared up and up like happy birds, and underneath the harmony was a driving drumbeat and a twanging, gritty guitar that made cold chills skitter up and down my sunburned back. “What’s that, Davy?” I said. “What’s that song?” …Round…round…get around…wha wha wha-oooooo… “What’s that song?” I asked him, close to panic that I might never know. “Haven’t you heard that yet? All the high-school guys are singin’ it.” …Gettin’ bugged drivin’ up and down the same ol’ strip…I gotta find a new place where the kids are hip… “What’s the name of it?” I demanded, standing at the center of ecstasy. “It’s on the radio all the time. It’s called—” Right then the high-school kids in the lot started singing along with the music, some of them rocking their cars back and forth, and I stood with a peanut butter milk shake in my hand and the sun on my face and the clean chlorine smell of the swimming pool coming to me from across the street. “—by the Beach Boys,” Davy Ray finished. “What?” “The Beach Boys. That’s who’s singin’ it.” “Man!” I said. “That sounds…that sounds…” What would describe it? What word in the English language would speak of youth and hope and freedom and desire, of sweet wanderlust and burning blood? What word describes the brotherhood of buddies, and the feeling that as long as the music plays, you are part of that tough, rambling breed who will inherit the earth? “Cool,” Davy Ray supplied. It would have to do. …Yeah the bad guys know us and they leave us alone…I get arounnnnddddd… I was amazed. I was transported. Those soaring voices lifted me off the hot pavement, and I flew with them to a land unknown. I had never been to the beach before. I’d never seen the ocean, except for pictures in magazines and on TV and movies. The Beach Boys. Those harmonies thrilled my soul, and for a moment I wore a letter jacket and owned a red hotrod and had beautiful blondes begging for my attention and I got around.

Doremus Jessup, so inconspicuous an observer, watching Senator Windrip from so humble a Boeotia, could not explain his power of bewitching large audiences. The Senator was vulgar, almost illiterate, a public liar easily detected, and in his "ideas" almost idiotic, while his celebrated piety was that of a traveling salesman for church furniture, and his yet more celebrated humor the sly cynicism of a country store. Certainly there was nothing exhilarating in the actual words of his speeches, nor anything convincing in his philosophy. His political platforms were only wings of a windmill. Seven years before his present credo—derived from Lee Sarason, Hitler, Gottfried Feder, Rocco, and probably the revue Of Thee I Sing—little Buzz, back home, had advocated nothing more revolutionary than better beef stew in the county poor-farms, and plenty of graft for loyal machine politicians, with jobs for their brothers-in-law, nephews, law partners, and creditors. Doremus had never heard Windrip during one of his orgasms of oratory, but he had been told by political reporters that under the spell you thought Windrip was Plato, but that on the way home you could not remember anything he had said. There were two things, they told Doremus, that distinguished this prairie Demosthenes. He was an actor of genius. There was no more overwhelming actor on the stage, in the motion pictures, nor even in the pulpit. He would whirl arms, bang tables, glare from mad eyes, vomit Biblical wrath from a gaping mouth; but he would also coo like a nursing mother, beseech like an aching lover, and in between tricks would coldly and almost contemptuously jab his crowds with figures and facts—figures and facts that were inescapable even when, as often happened, they were entirely incorrect. But below this surface stagecraft was his uncommon natural ability to be authentically excited by and with his audience, and they by and with him. He could dramatize his assertion that he was neither a Nazi nor a Fascist but a Democrat—a homespun Jeffersonian-Lincolnian-Clevelandian-Wilsonian Democrat—and (sans scenery and costume) make you see him veritably defending the Capitol against barbarian hordes, the while he innocently presented as his own warm-hearted Democratic inventions, every anti-libertarian, anti-Semitic madness of Europe. Aside from his dramatic glory, Buzz Windrip was a Professional Common Man. Oh, he was common enough. He had every prejudice and aspiration of every American Common Man. He believed in the desirability and therefore the sanctity of thick buckwheat cakes with adulterated maple syrup, in rubber trays for the ice cubes in his electric refrigerator, in the especial nobility of dogs, all dogs, in the oracles of S. Parkes Cadman, in being chummy with all waitresses at all junction lunch rooms, and in Henry Ford (when he became President, he exulted, maybe he could get Mr. Ford to come to supper at the White House), and the superiority of anyone who possessed a million dollars. He regarded spats, walking sticks, caviar, titles, tea-drinking, poetry not daily syndicated in newspapers and all foreigners, possibly excepting the British, as degenerate. But he was the Common Man twenty-times-magnified by his oratory, so that while the other Commoners could understand his every purpose, which was exactly the same as their own, they saw him towering among them, and they raised hands to him in worship.

Now, years later, he had been commissioned to fashion pictures with sugar water and dyes, a holiday mural. He had risen into something he could do, he had been recognized, and those years spent enduring his father's impatience seemed far away. He would do it for number 98,761,580, his love whose hand he held, cold as it was, who had lain beside him in the tunnels, in the filth. What had haunted him was the thought of her lovely body wasting away. It had torn at his eyes, his throat. It had taken away his faith. He painted a band of sugar on the walls of the hotel, the mural reflecting the city back to itself - the deep green park, the holiday windows, lovers under golden angels, flowers spilling out of markets in December, a resurrected skyscraper, a choir of variegated faces singing in front of a red door of a dark church, the homeless - not swept away, not forgotten - their realities on their faces, hands, hair. It was not a Rockwell. There were a few artists, subcontractors, who kept trying to abscond with the project, to make it what it wasn't for the sake of something they likened to a good make-believe before bed. -- 'A Potter's Field