Passage Door Quotes

Footfalls echo in the memory, down the passage we did not take, towards the door we never opened, into the rose garden.

Look on every exit as being an entrance somewhere else.

Footfalls echo in the memory down the passage we did not take towards the door we never opened into the rose garden. My words echo thus, in your mind

Because that's what heaven is...it's opening the door of a house in twilight and everyone you love is there.

Worlds were never meant to be prisons, locked and suffocating and safe. Worlds were supposed to be great rambling houses with all the windows thrown open and the wind and summer rain rushing through them, with magic passages in their closets and secret treasure chests in their attics.

Mirrors on the ceiling, The pink champagne on ice And she said 'We are all just prisoners here, of our own device' And in the master's chambers, They gathered for the feast They stab it with their steely knives, But they just can't kill the beast Last thing I remember, I was Running for the door I had to find the passage back To the place I was before 'Relax,' said the night man, 'We are programmed to receive. You can check out any time you like, But you can never leave ...

Sara waited a respectful time, knowing there was nothing she could do to ease the woman's pain. Grief was a place, Sara understood, where a person went alone. It was like a room without doors, and what happened in that room, all the anger and the pain you felt, was meant to stay there, nobody's business but yours.

She had always lived her best life in dreams. She knew no greater pleasure than that moment of passage into the other place, when her limbs grew warm and heavy and the sparkling darkness behind her lids became ordered and doors opened; when conscious thought grew owl's wings and talons and became other than conscious.

Life is no straight and easy corridor along which we travel free and unhampered, but a maze of passages, through which we must seek our way, lost and confused, now and again checked in a blind alley. But always, if we have faith, a door will open for us, not perhaps one that we ourselves would ever have thought of, but one that will ultimately prove good for us

There are passages and doors And Realms that lie unseen. There are Roads both wide and narrow And no avenue between. Doors Remain closed for those Who in sad vanity yet hide. Yet when Belief is chosen, The key appears inside. What is lived now will soon pass, And what is not will come to Be. The Door Within must open, For one to truly see. Do you see? Believe and enter.

Door of passage to the other side, the soul frees itself in stride.

What might have been and and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened...

Matthias locked the cell door and hurried down the passage toward Nina, toward something more.

Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. Other echoes Inhabit the garden. Shall we follow?” <...> Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present.

The poet lives and writes at the frontier between deep internal experience and the revelations of the outer world. There is no going back for the poet once this frontier has been reached; a new territory is visible and what has been said cannot be unsaid. The discipline of poetry is in overhearing yourself say difficult truths from which it is impossible to retreat. Poetry is a break for freedom. In a sense all poems are good; all poems are an emblem of courage and the attempt to say the unsayable; but only a few are able to speak to something universal yet personal and distinct at the same time; to create a door through which others can walk into what previously seemed unobtainable realms, in the passage of a few short lines.

It was anyway all a long time ago; the world, we know now, is as it is and not different; if there was ever a time when there were passages, doors, the borders open and many crossing, that time is not now. The world is older than it was. Even the weather isn’t as we remember it clearly once being; never lately does there come a summer day such as we remember, never clouds as white as that, never grass as odorous or shade as deep and full of promise as we remember they can be, as once upon a time they were.

Life is no straight and easy corridor along which we travel free and unhampered, but a maze of passages, through which we must seek our way, lost and confused, now and again checked in a blind alley.   But always, if we have faith, a door will open for us, not perhaps one that we ourselves

Footfalls echo in the memory Down the passage we did not take, Towards the door we never opened Into the rose garden–T.S. ELIOT

Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. Time present and time past Are both perhaps present in time future And time future contained in time past. (I) What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. (I) Go, go, go, said the bird: human kind Cannot bear very much reality. What might have been and what has been Point to one end, which is always present. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. (I) At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is... At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where And I cannot say, how long, for that is to place it in time. (II) All is always now. Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. (II) Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. (V) Or say that the end precedes the beginning, And the end and the beginning were always there Before the beginning and after the end. And all is always now. Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Will not stay still. (V) Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. (V)

Doors, he told her, are change, and change is a dangerous necessity. Doors are revolutions and upheavals, uncertainties and mysteries, axis points around which entire worlds can be turned. They are the beginnings and endings of every true story, the passages between that lead to adventures and madness and- here he smiled- even love. Without doors the worlds would grow stagnant, calcified, storyless.

Grief was a place, Sara understood, where a person went alone. It was like a room without doors, and what happened in that room, all the anger and the pain you felt, was meant to stay there, nobody’s business but yours.

It is the earliest dream that I can remember, earlier than the witch at the corner of the nursery passage, this dream of something outside that has got to come in. The witch, like the masked dancers, has form, but this is simply power, a force exerted on a door, an influence that drifted after me upstairs and pressed against windows.

I try, but they always see through me. The passages will never lead anywhere, the doors will always be shut.

Do not despair if the Beloved pushes you away. If He pushes you away today it's only so He can draw you back tomorrow. If He closes the door on your face, don't leave, wait— you'll soon be by His side. If He bars every passage, don't lose hope— He's about to show you a secret way that nobody knows.

A slow and heavy step, which had been heard upon the stairs and in the passage, paused immediately outside the door. Then there was a loud and authoritative tap.

But at some point in her passage, the trees began to change. They stretched taller, and the soft, pale bark darkened, roughened. She put her hand to a tree and touched the lichen growing dark green upon brown, and it felt like old cork, dry and crumbling. Here the sun mellowed, took on the cast of late afternoon, and the shadows seemed to fall a bit longer; the forest had sunk into a deeper silence, magnifying what sounds did arise. The sudden, quick crash of a fox bounding through the brush was as loud as the slam of a great wooden door.

For behind the wooden wainscots of all the old houses in Gloucester, there are little mouse staircases and secret trap-doors; and the mice run from house to house through those long narrow passages; they can run all over the town without going into the streets.

Nostalgia is my favorite emotion. It's like, you think you know how to deal with the passage of time, but nostalgia will prove you wrong. You'll press your face into an old sweatshirt, or you'll look at a familiar shade of paint on a front door, and you'll be reminded of all the time that got away from you. If you could live it all again, you'd take a long moment to look around, to examine knees against knees. Nostalgia puts you in this dangerous re-creation of something you can never have again. It's ruthless, and for the most part, inaccurate.

If God had to build a door, it’s because we erected a wall.

Matthias pressed his forehead once, briefly, against Brum’s. He knew his mentor could not hear him, but he spoke the words anyway. “The life you live, the hate you feel—it’s poison. I can drink it no longer.” Matthias locked the cell door and hurried down the passage toward Nina, toward something more.

Life is no straight and easy corridor along which we travel free and unhampered, but a maze of passages, through which we must seek our way, lost and confused, now and again checked in a blind alley.   But always, if we have faith, a door will open for us, not perhaps one that we ourselves would ever have thought of, but one that will ultimately prove good for us.”   A.J. Cronin

Gandalf for certain this time,” he thought as he puffed along the passage. But it was not. It was two more dwarves, both with blue hoods, silver belts, and yellow beards; and each of them carried a bag of tools and a spade. In they hopped, as soon as the door began to open—Bilbo was hardly surprised at all.

Emma feels the fear in her chest like a raven tapping at a window. It's too late for misgivings, though. The door is open. A large male orderly stands sentry, securing her passage to the place beyond sanity, and Emma steps inside...

. Even Proust—there’s a famous passage where Odette opens the door with a cold, she’s sulky, her hair is loose and undone, her skin is patchy, and Swann, who has never cared about her until that moment, falls in love with her because she looks like a Botticelli girl from a slightly damaged fresco. Which Proust himself only knew from a reproduction. He never saw the original, in the Sistine Chapel. But even so—the whole novel is in some ways about that moment. And the damage is part of the attraction, the painting’s blotchy cheeks. Even through a copy Proust was able to re-dream that image, re-shape reality with it, pull something all his own from it into the world. Because—the line of beauty is the line of beauty. It doesn’t matter if it’s been through the Xerox machine a hundred times.

One by one the lights burned out, like long lives come to their expected ends. Then there was a dark house made once of time, made now of weather, and harder to find; impossible to find and not even as easy to dream of as when it was alight. Stories last longer, but only by becoming only stories. It was anyway all a long time ago; the world, we know now, is as it is and not different; if ever there was a time when there were passages, doors, the borders open and many crossing; that time is not now. The world is older than it was. Even the weather isn't as we remember it clearly once being; never lately does there come a summer day such as we remember, never clouds as white as that, never grass as odorous and shade as deep and full of promise as we remember they can be, as once upon a time they were.

The life you live, the hate you feel—it’s poison. I can drink it no longer.” Matthias locked the cell door and hurried down the passage toward Nina, toward something more.

Life is no straight and easy corridor along which we travel free and unhampered, but a maze of passages, through which we must seek our way, lost and confused, now and again checked in a blind alley. But always, if we have faith, a door will open for us, not perhaps one that we ourselves would ever have thought of, but one that will ultimately prove good for us.” A.J. Cronin

James Potter moved slowly along the narrow aisles of the train, peering as nonchalantly as he could into each compartment. To those inside, he probably looked as if he was searching for someone, some friend or group of confidantes with whom to pass the time during the trip, and this was intentional. The last thing that James wanted anyone to notice was that, despite the bravado he had so recently displayed with his younger brother Albus on the platform, he was nervous. His stomach knotted and churned as if he’d had half a bite of one of Uncles Ron and George’s Puking Pastilles. He opened the folding door at the end of the passenger car and stepped carefully through the passage into the next one. The first compartment was full of girls. They were talking animatedly to one another, already apparently the best of friends despite the fact that, most likely, they had only just met. One of them glanced up and saw him staring. He quickly looked away, pretending to peer out the window behind them, toward the station which still sat bustling with activity. Feeling his cheeks go a little red, he continued down the corridor. If only Rose was a year older she’d be here with him. She was a girl, but she was his cousin and they’d grown up together. It would’ve been nice to have at least one familiar face along with him.

And even before my brain, lingering in consideration of when things had happened and of what they had looked like, had sufficient impressions to enable it to identify the room, it, my body, would recall from each room in succession what the bed was like, where the doors were, how daylight came in at the windows, whether there was a passage outside, what I had had in my mind when I went to sleep, and had found there when I awoke.

The hard truth is that if we fail to take time to think deeply about the unsearchable, wonderful, endless depths of the Word of God-even the difficult passages-it's like turning off a tap or closing a door. We cut ourselves off from unique opportunities, robbing ourselves of rich possibilities including a deeper love for God, a more profound transformation of our hearts and minds, a more thorough shaping of our character, and a richer filling of our spirits.

Wolgast recalled when he’d come down here with his friends to buy candy and comic books. Back then, a spinning wire rack had stood by the front door: Tales from the Crypt, Fantastic Four, the Dark Knight series, Wolgast’s favorite.

The old house had a thousand doors in it. All old houses do. You can see them if you know how to look: the noontime shadow of a windowpane crawling with intent across a floor; unmeasured angles of wall meeting wall; fireplaces grown chill with unused years. Archways with unseen contours you can trace with a finger in the cracks as brick grinds against brick in settling walls. Some nights, and some houses are doorways entire, silhouettes against the evening's last light black on black like an opening into a darker sky. You just have to look. An eye-corner glance will do, if you don't turn and stare and explain it away.

He gave it its present name, and lived here shut up: day and night poring over the wicked heaps of papers in the suit, and hoping against hope to disentangle it from its mystification and bring it to a close. In the meantime, the place became dilapidated, the wind whistled through the cracked walls, the rain fell through the broken roof, the weeds choked the passage to the rotting door. When I brought what remained of him home here, the brains seemed to me to have been blown out of the house too; it was so shattered and ruined.

If you are a millionaire beset by blackmailers or anyone else to whose comfort the best legal advice is essential, and have decided to put your affairs in the hands of the ablest and discreetest firm in London, you proceed through a dark and grimy entry and up a dark and grimy flight of stairs; and, having felt your way along a dark and grimy passage, you come at length to a dark and grimy door. There is plenty of dirt in other parts of Ridgeway's Inn, but nowhere is it so plentiful, so rich in alluvial deposits, as on the exterior of the offices of Marlowe, Thorpe, Prescott, Winslow and Appleby. As you tap on the topmost of the geological strata concealing the ground-glass of the door, a sense of relief and security floods your being. For in London grubbiness is the gauge of a lawyer's respectability.

Suddenly she came upon a little three-legged table, all made of solid glass; there was nothing on it except a tiny golden key, and Alice's first thought was that it might belong to one of the doors of the hall; but, alas! either the locks were too large, or the key was too small, but at any rate it would not open any of them. However, on the second time round, she came upon a low curtain she had not noticed before, and behind it was a little door about fifteen inches high: she tried the little golden key in the lock, and to her great delight it fitted! Alice opened the door and found that it led into a small passage, not much larger than a rat-hole: she knelt down and looked along the passage into

They were happier now than they would ever be again. A tenpenny tea set made Cam happy for days. She heard them stamping and crowing on the floor above her head the moment they woke. They came bustling along the passage. Then the door sprang open and in they came, fresh as roses, staring, wide awake, as if this coming into the dining-room after was a positive event to them, and so on, with one thing after another, all day long, until she went up to say good-night to them, and found them netted in their cots like birds among cherries and raspberries, still making up stories about some little bit of rubbish-–something they heard, something they had picked up in the garden. They had all their little treasures. . . And so she went down and said to her husband, Why must they grow up and lose it all? Never will they be so happy again. And he was angry. Why take such a gloomy view of life? he said. It is not sensible. For it was odd; and he believed it to be true; that with all his gloom and desperation he was happier, more hopeful on the whole, than she was. Less exposed to human worries––perhaps that was it. He had always his work to fall back on.

There were twelve in all in the party, five adults and six children—and Ona, who was a little of both. They had a hard time on the passage; there was an agent who helped them, but he proved a scoundrel, and got them into a trap with some officials, and cost them a good deal of their precious money, which they clung to with such horrible fear. This happened to them again in New York—for, of course, they knew nothing about the country, and had no one to tell them, and it was easy for a man in a blue uniform to lead them away, and to take them to a hotel and keep them there, and make them pay enormous charges to get away. The law says that the rate card shall be on the door of a hotel, but it does not say that it shall be in Lithuanian.

And the others were thinking equally gloomy thoughts, although when they had said good-bye to Elrond in the high hope of a midsummer morning, they' had spoken gaily of the passage of the mountains, and of riding swift across the lands beyond. They had thought of coming to the secret door in the Lonely Mountain, perhaps that very next first moon of Autumn - 'and perhaps it will be Durin's Day' they had said. Only Gandalf had shaken his head and said nothing.

I made the coffee myself in Armande's curious small kitchen with its cast-iron range and low ceiling. Everything is clean there, but the one tiny window looks onto the river, giving the light a greenish underwater look. Hanging from the dark, unpainted beams are bunches of dry herbs in their muslin sachets. On the whitewashed walls, copper pans hang from hooks. The door- like all the doors in the house- has a hole cut into the base to allow free passage to her cats.

So let us praise the distinctive pleasures of re-reading: that particular shiver of anticipation as you sink into a beloved, familiar text; the surprise and wonder when a book that had told one tale now turns and tells another; the thrill when a book long closed reveals a new door with which to enter. In our tech-obsessed, speed-obsessed, throw-away culture let us be truly subversive and praise instead the virtues of a long, slow relationship with a printed book unfolding over many years, a relationship that includes its weight in our hands and its dusty presence on our shelves. In an age that prizes novelty, irony, and youth, let us praise familiarity, passion, and knowledge accrued through the passage of time. As we age, as we change, as our lives change around us, we bring different versions of ourselves to each encounter with our most cherished texts. Some books grow better, others wither and fade away, but they never stay static.

Like everyone, I had,on many previous occasions, ignored a half-open door leading elsewhere - in the chilly passages of strange houses, in backyards, on the outskirts of towns. The frontier of our world is not far away; it doesn't run along the horizon or in the depths. It glimmers faintly close by, in the twilight of our nearest surroundings; out of the corner of our eye we can always glimpse another world, without realizing it. We are walking all the time along a shore and along the edge of a virgin forest. Our gestures would seem to rise out of an entity that also encompasses these concealed spaces, and in an odd way they reveal their shadowy existence, although we are unaware of the roar of waves and shrieks of animals - the disquieting accompaniment to our words (and possibly their secret birthplace); we are unaware of the glittering jewels in the unknown world of nooks and crannies; usually we don't stray off the path even once in our lifetime.

I knew a young fellow once, who was studying to play the bagpipes, and you would be surprised at the amount of opposition he had to contend with. Why, not even from the members of his own family did he receive what you could call active encouragement. His father was dead against the business from the beginning, and spoke quite unfeelingly on the subject. My friend used to get up early in the morning to practise, but he had to give that plan up, because of his sister. She was somewhat religiously inclined, and she said it seemed such an awful thing to begin the day like that. So he sat up at night instead, and played after the family had gone to bed, but that did not do, as it got the house such a bad name. People, going home late, would stop outside to listen, and then put it about all over the town, the next morning, that a fearful murder had been committed at Mr. Jefferson's the night before; and would describe how they had heard the victim's shrieks and the brutal oaths and curses of the murderer, followed by the prayer for mercy, and the last dying gurgle of the corpse. So they let him practise in the day-time, in the back-kitchen with all the doors shut; but his more successful passages could generally be heard in the sitting-room, in spite of these precautions, and would affect his mother almost to tears. She said it put her in mind of her poor father (he had been swallowed by a shark, poor man, while bathing off the coast of New Guinea - where the connection came in, she could not explain). Then they knocked up a little place for him at the bottom of the garden, about quarter of a mile from the house, and made him take the machine down there when he wanted to work it; and sometimes a visitor would come to the house who knew nothing of the matter, and they would forget to tell him all about it, and caution him, and he would go out for a stroll round the garden and suddenly get within earshot of those bagpipes, without being prepared for it, or knowing what it was. If he were a man of strong mind, it only gave him fits; but a person of mere average intellect it usually sent mad.

Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves, and not anything else, and by the immobility of our conceptions of them. For it always happened that when I awoke like this, and my mind struggled in an unsuccessful attempt to discover where I was, everything would be moving round me through the darkness: things, places, years. My body, still too heavy with sleep to move, would make an effort to construe the form which its tiredness took as an orientation of its various members, so as to induce from that where the wall lay and the furniture stood, to piece together and to give a name to the house in which it must be living. Its memory, the composite memory of its ribs, knees, and shoulder-blades offered it a whole series of rooms in which it had at one time or another slept; while the unseen walls kept changing, adapting themselves to the shape of each successive room that it remembered, whirling madly through the darkness. And even before my brain, lingering in consideration of when things had happened and of what they had looked like, had collected sufficient impressions to enable it to identify the room, it, my body, would recall from each room in succession what the bed was like, where the doors were, how daylight came in at the windows, whether there was a passage outside, what I had had in my mind when I went to sleep, and had found there when I awoke. The stiffened side underneath my body would, for instance, in trying to fix its position, imagine itself to be lying, face to the wall, in a big bed with a canopy; and at once I would say to myself, "Why, I must have gone to sleep after all, and Mamma never came to say good night!" for I was in the country with my grandfather, who died years ago; and my body, the side upon which I was lying, loyally preserving from the past an impression which my mind should never have forgotten, brought back before my eyes the glimmering flame of the night-light in its bowl of Bohemian glass, shaped like an urn and hung by chains from the ceiling, and the chimney-piece of Siena marble in my bedroom at Combray, in my great-aunt's house, in those far distant days which, at the moment of waking, seemed present without being clearly denned, but would become plainer in a little while when I was properly awake.

And when the governess had left, he would slip out of his own room and peer at her door until her light was extinguished at last, before he returned to bed to stew anew in lust and yearning. A habit that he’d kept to this day, whenever they happened to be under the same roof. Her light turned off. He sighed. How long would he keep at this? Soon he would be twenty-seven. Did he still plan to stand in a dark passage in the middle of the night and gaze upon her door when he was thirty-seven? Forty-seven? Ninetyseven?

Alice opened the door and found that it led into a small passage, not much larger than a rat-hole: she knelt down and looked along the passage into the loveliest garden you ever saw. How she longed to get out of that dark hall, and wander about among those beds of bright flowers and those cool fountains, but she could not even get her head though the doorway; ‘and even if my head would go through,’ thought poor Alice, ‘it would be of very little use without my shoulders. Oh, how I wish I could shut up like a telescope! I think I could, if I only know how to begin.’ For, you see, so many out-of-the-way things had happened lately, that Alice had begun to think that very few things indeed were really impossible.

While disease had thus become an inhabitant of Lowood, and death its frequent visitor; while there was gloom and fear within its walls; while its rooms and passages steamed with hospital smells, the drug and the pastille striving vainly to overcome the effluvia of mortality, that bright May shone unclouded over the bold hills and beautiful woodland out of doors.

She had begun to understand how priesthoods were born, the necessity of sanctioned forms, rules and prohibitions, the moral filter defined by accepted notions of justice. And yet, she could also see how profoundly dangerous such an institution could become, as arbiters of morality, as dispensers of that justice. Faces like hooded vultures, guarding the door to the court, choosing who gets inside and who doesn’t. How soon before the first bag of silver changes hands? How soon before the first reprehensible criminal buys passage into the arms of the blind, unquestioning Redeemer? She could fashion such a church, could formalize the cult into a religion, and she could impose a harsh, unwavering sense of justice. But what of the next generation of priests and priestesses? And the one after that, and the next one? How long before the hard rules make that church a self-righteous, power-mongering tyranny? How long before corruption arrives, when the hidden heart of the religion is the simple fact that the Redeemer embraces everyone who comes before him? A fact virtually guaranteed to breed cynicism in the priesthood, and from such cynicism secular acquisitiveness would be inevitable. This loss was not just a loss of faith in the Redeemer. It was a loss of faith in religion itself.

Reuben nails my fantasies everytime, with iron rods of reality. He asserts that I am going to die, but probably not for a while, and that maybe I should try getting married and having a life first. He is 70 and knows things, which is why I go to him. But it's sad to leave my romantic illusions at the door of this passage. Although false and destructive and useless, they've been tremendous company.

I was interrupted in the heyday of this soliloquy, with a voice which I took to be of a child, which complained “it could not get out.”—I look’d up and down the passage, and seeing neither man, woman, or child, I went out without further attention. In my return back through the passage, I heard the same words repeated twice over; and looking up, I saw it was a starling hung in a little cage.—“I can’t get out—I can’t get out,” said the starling. I stood looking at the bird: and to every person who came through the passage it ran fluttering to the side towards which they approach’d it, with the same lamentation of its captivity.—“I can’t get out,” said the starling.—God help thee! said I, but I’ll let thee out, cost what it will; so I turn’d about the cage to get to the door; it was twisted and double twisted so fast with wire, there was no getting it open without pulling the cage to pieces.—I took both hands to it. The bird flew to the place where I was attempting his deliverance, and thrusting his head through the trellis, press’d his breast against it, as if impatient.—I fear, poor creature! said I, I cannot set thee at liberty.—“No,” said the starling—“I can’t get out—I can’t get out,” said the starling.

It had begun to be present to him after the first fortnight, it had broken out with the oddest abruptness, this particular wanton wonderment: it met him there--and this was the image under which he himself judged the matter, or at least, not a little, thrilled and flushed with it--very much as he might have been met by some strange figure, some unexpected occupant, at a turn of one of the dim passages of an empty house. The quaint analogy quite hauntingly remained with him, when he didn't indeed rather improve it by a still intenser form: that of his opening a door behind which he would have made sure of finding nothing, a door into a room shuttered and void, and yet so coming, with a great suppressed start, on some quite erect confronting presence, something planted in the middle of the place and facing him through the dusk.

The truth is you already know what it’s like. You already know the difference between the size and speed of everything that flashes through you and the tiny inadequate bit of it all you can ever let anyone know. As though inside you is this enormous room full of what seems like everything in the whole universe at one time or another and yet the only parts that get out have to somehow squeeze out through one of those tiny keyholes you see under the knob in older doors. As if we are all trying to see each other through these tiny keyholes. But it does have a knob, the door can open. But not in the way you think. But what if you could? Think for a second — what if all the infinitely dense and shifting worlds of stuff inside you every moment of your life turned out now to be somehow fully open and expressible afterward, after what you think of as you has died, because what if afterward now each moment itself is an infinite sea or span or passage of time in which to express it or convey it, and you don’t even need any organized English, you can as they say open the door and be in anyone else’s room in all your own multiform forms and ideas and facets? Because listen — we don’t have much time, here’s where Lily Cache slopes slightly down and the banks start getting steep, and you can just make out the outlines of the unlit sign for the farmstand that’s never open anymore, the last sign before the bridge — so listen: What exactly do you think you are? The millions and trillions of thoughts, memories, juxtapositions — even crazy ones like this, you’re thinking — that flash through your head and disappear? Some sum or remainder of these? Your history? Do you know how long it’s been since I told you I was a fraud? Do you remember you were looking at the respicem watch hanging from the rearview and seeing the time, 9:17? What are you looking at right now? Coincidence? What if no time has passed at all?* The truth is you’ve already heard this. That this is what it’s like. That it’s what makes room for the universes inside you, all the endless inbent fractals of connection and symphonies of different voices, the infinities you can never show another soul. And you think it makes you a fraud, the tiny fraction anyone else ever sees? Of course you’re a fraud, of course what people see is never you. And of course you know this, and of course you try to manage what part they see if you know it’s only a part. Who wouldn’t? It’s called free will, Sherlock. But at the same time it’s why it feels so good to break down and cry in front of others, or to laugh, or speak in tongues, or chant in Bengali — it’s not English anymore, it’s not getting squeezed through any hole. So cry all you want, I won’t tell anybody.

If the passage absolutely demands cursing, be moderate. A little of it goes a long way. I've seen beginning writers pepper curse words through sentence after sentence. 'If you don't -blanking- get your -blanking-blank-blank- in to this house this -blanking- minute, I'm going to -blank- your -blank- and nail it to the -blanking- door.' Two things happen when I read this junk: I get bored and I get angry. I didn't pick up your book to read garbage. If this is as clever as you can be, I don't want to read your prose. In life if you met someone who spoke like this, you'd want to flee. Then why put this stuff on the page? As near as I can determine, this abomination occurs because a writer is corrupted by the awful -blanking- dialog that movies inflict on us these days. It's also a sign of insecurity. The writer wonders if the dialog is strong enough and decides a lot of -blanking-blank- will do the trick. Someone might object that this kind of dialog is realistic in certain situations--intense scenes involving policemen or soldiers for example. I can only reply that in my research I spend considerable time with policemen and soldiers. Few of them curse any more than a normal person would. This garbage isn't realistic. It merely draws attention to itself and holds back the story. Use it sparingly.

I will here give a brief sketch of the progress of opinion on the Origin of Species. Until recently the great majority of naturalists believed that species were immutable productions, and had been separately created. This view has been ably maintained by many authors. Some few naturalists, on the other hand, have believed that species undergo modification, and that the existing forms of life are the descendants by true generation of pre existing forms. Passing over allusions to the subject in the classical writers (Aristotle, in his "Physicae Auscultationes" (lib.2, cap.8, s.2), after remarking that rain does not fall in order to make the corn grow, any more than it falls to spoil the farmer's corn when threshed out of doors, applies the same argument to organisation; and adds (as translated by Mr. Clair Grece, who first pointed out the passage to me), "So what hinders the different parts (of the body) from having this merely accidental relation in nature? as the teeth, for example, grow by necessity, the front ones sharp, adapted for dividing, and the grinders flat, and serviceable for masticating the food; since they were not made for the sake of this, but it was the result of accident. And in like manner as to other parts in which there appears to exist an adaptation to an end. Wheresoever, therefore, all things together (that is all the parts of one whole) happened like as if they were made for the sake of something, these were preserved, having been appropriately constituted by an internal spontaneity; and whatsoever things were not thus constituted, perished and still perish." We here see the principle of natural selection shadowed forth, but how little Aristotle fully comprehended the principle, is shown by his remarks on the formation of the teeth.), the first author who in modern times has treated it in a scientific spirit was Buffon. But as his opinions fluctuated greatly at different periods, and as he does not enter on the causes or means of the transformation of species, I need not here enter on details.

Please have a seat, Henrietta. Winifred, thank you; that will be all. Ensure we’re not disturbed.” The older woman bobbed a slight curtsey, giving Etta’s back a parting pinch, hard enough to make her jump forward a step. Etta waited until the woman had vanished through the door in a swirl of dark skirts before turning to Henry and spitting out, “She doesn’t travel through passages, does she? She sacrifices a puppy and flies through the centuries on her broom.” He gave a sharp cough into his hand. “I assure you, your great-aunt is quite loving,” Henry said, only to stop and reconsider. “That is, she’s quite loving in her own way…every other Sunday. In May. Won’t you sit?” Great-aunt. No way in hell.

That dusty, musty theater smell, how it still haunts each one of us in turn, and Maria at least will never shake it free. That swing door with the bar across it, the cold passage, those hollow-sounding stairs and the descent to the abyss. Those notices upon the walls that no one ever reads, that prowling cat with tail erect which mews and vanishes, the rusty fire-bucket into which someone throws the stub of a cigarette. The first sight of it would always be the same, no matter in what city or what country. The posters, sometimes black-printed, sometimes red, with Pappy’s and Mama’s names upon them, and the photographs, always of Mama, never of Pappy—this was a superstition of them both—hanging by the entrance.

People are built like houses inside- they have stairwells, spacious halls, vestibules that are always too weakly lit to count the doors into the rooms, row upon row of apartments, damp chambers, slimy, tiled bathrooms with cast-iron baths, steps with handrails taut as veins, artery-like corridors, joint-like landings, passages, guest rooms, draughty chambers into which a sudden current of warm air flows, closets, twists and turns and cubby-holes, and larders full of forgotten supplies.

When I’m old and dying, wheezing my guts out, my organs failing, I want to walk out the front door of some old farmhouse on my own land, maybe forty, fifty hectares of it. I want to find a cool place in the woods under some old oak tree and settle down there and die as the sun comes up. I want a death rattle, a final breath, a body intact that can then be torn apart by scavengers, riddled with worms, my limbs dragged off to feed some family of little foxes, my guts teeming with maggots, until I am nothing but a gooey collection of juices that feeds the fungi and the oak seedlings and the wild grasses. I want my bleached bones scatted across my own land, broken and sucked clean of marrow, half buried in snow and finally, finally, covered over in loam and ground to dust by the passage of time, until I am broken into fragments, the pieces of my body returned to where they came. I could give back something to this world instead of taking, taking, taking. That’s the death I want.

A sloping, earthy passage inside the barrel travels upwards a little way until a cosy, round, low-ceilinged room is revealed, reminiscent of a badger’s set. The room is decorated in the cheerful, bee-like colours of yellow and black, emphasised by the use of highly polished, honey-coloured wood for the tables and the round doors that lead to the boys’ and girls’ dormitories (furnished with comfortable wooden bedsteads, all covered in patchwork quilts). A colourful profusion of plants and flowers seem to relish the atmosphere of the Hufflepuff common room: various cacti stand on wooden circular shelves (curved to fit the walls), many of them waving and dancing at passers-by, while copper-bottomed plant holders dangling amid the ceiling cause tendrils of ferns and ivies to brush your hair as you pass under them. A portrait over the wooden mantelpiece (carved all over with decorative dancing badgers) shows Helga Hufflepuff, one of the four founders of Hogwarts School, toasting her students with a tiny, two-handled golden cup.

What was glimpsed in Aquarius—what was envisioned, believed in, prophesied, predicted, doubted, and forewarned—is made, in Pisces, manifest. Those solitary visions that, but a month ago, belonged only to the dreamer, will now acquire the form and substance of the real. We were of our own making, and we shall be our own end. And after Pisces? Out of the womb, the bloody birth. We do not follow: we cannot cross from last to first. Aries will not admit a collective point of view, and Taurus will not relinquish the subjective. Gemini's code is an exclusive one. Cancer seeks a source, Leo, a purpose, and Virgo, a design; but these are projects undertaken singly. Only in the zodiac's second act will we begin to show ourselves: in Libra, as a notion, in Scorpio, as a quality, and in Sagittarius, as a voice. In Capricorn we will gain memory, and in Aquarius, vision; it is only in Pisces, the last and oldest of the zodiacal signs, that we acquire a kind of selfhood, something whole. But the doubled fish of Pisces, that mirrored womb of self and self-awareness, is an ourobouros of mind—both the will of fate, and the fated will—and the house of self-undoing is a prison built by prisoners, airless, door-less, and mortared from within. These alterations come upon us irrevocably, as the hands of the clock-face come upon the hour.

Time present and time past Are both perhaps present in time future And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. Other echoes Inhabit the garden. Shall we follow? Quick, said the bird, find them, find them, Round the corner. Through the first gate, Into our first world, shall we follow The deception of the thrush? Into our first world. There they were, dignified, invisible, Moving without pressure, over the dead leaves, In the autumn heat, through the vibrant air, And the bird called, in response to The unheard music hidden in the shrubbery, And the unseen eyebeam crossed, for the roses Had the look of flowers that are looked at. There they were as our guests, accepted and accepting. So we moved, and they, in a formal pattern, Along the empty alley, into the box circle, To look down into the drained pool. Dry the pool, dry concrete, brown edged, And the pool was filled with water out of sunlight, And the lotos rose, quietly, quietly, The surface glittered out of heart of light, And they were behind us, reflected in the pool. Then a cloud passed, and the pool was empty. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present.

The best laid schemes o’ mice and men often go astray.   Robert Burns 1759 -1796         “Life is no straight and easy corridor along which we travel free and unhampered, but a maze of passages, through which we must seek our way, lost and confused, now and again checked in a blind alley.   But always, if we have faith, a door will open for us, not perhaps one that we ourselves would ever have thought of, but one that will ultimately prove good for us.”   A.J. Cronin Parts of All of Us The Simple and The Complex   The four imaginary characters depicted in this story— the mice: “Sniff” and “Scurry,” and the Littlepeople: “Hem” and “Haw”— are intended to represent the simple and the complex parts of ourselves, regardless of our age, gender, race or nationality.   Sometimes we may act like Sniff Who sniffs out change

In the tense silence the continual buzzing of the horseflies was the only audible sound, that and the constant rain beating down in the distance, and, uniting the two, the ever more frequent scritch-scratch of the bent acacia trees outside, and the strange nightshift work of the bugs in the table legs and in various parts of the counter whose irregular pulse measured out the small parcels of time, apportioning the narrow space into which a word, a sentence or a movement might perfectly fit. The entire end-of-October night was beating with a single pulse, its own strange rhythm sounding through trees and rain and mud in a manner beyond words or vision: a vision present in the low light, in the slow passage of darkness, in the blurred shadows, in the working of tired muscles; in the silence, in its human subjects, in the undulating surface of the metaled road; in the hair moving to a different beat than do the dissolving fibers of the body; growth and decay on their divergent paths; all these thousands of echoing rhythms, this confusing clatter of night noises, all parts of an apparently common stream, that is the attempt to forget despair; though behind things other things appear as if by mischief, and once beyond the power of the eye they don't hang together. So with the door left open as if forever, with the lock that will never open. There is a chasm, a crevice.

The necessary and needful reaction from the collective unconscious expresses itself in archetypally formed ideas. The meeting with oneself is, at first, the meeting with one's own shadow. The shadow is a tight passage, a narrow door, whose painful constriction no one is spared who goes down to the deep well. But one must learn to know oneself in order to know who one is. For what comes after the door is, surprisingly enough, a boundless expanse full of unprecedented uncertainty, with apparently no one inside and no one outside, no above and no below, no here and no there, no mine and no thine, no good and no bad. It is a world of water, where all life floats in suspension; where the realm of the sympathetic system, the soul of everything living, begins; where I am indivisibly this and that; where I experience the other in myself and the other-than-myself experiences me. No, the collective unconscious is anything but an encapsulated personal system; it is sheer objectivity, as wide as the world and open to all the world. There I am the object of every subject, in complete reversal of my ordinary consciousness, where I am always the subject that has an object. There I am utterly one with the world, so much a part of it that I forget all too easily who I really am. "Lost in oneself" is a good way of describing this state. But this self is the world, if only a consciousness could see it. That is why we must know who we are." ―from_Archetypes of the Collective Unconscious_

Thieves! Fire! Murder! Such a thing had not happened since first he came to the Mountain! His rage passes description—the sort of rage that is only seen when rich folk that have more than they can enjoy suddenly lose something that they have long had but have never before used or wanted. His fire belched forth, the hall smoked, he shook the mountain-roots. He thrust his head in vain at the little hole, and then coiling his length together, roaring like thunder underground, he sped from his deep lair through its great door, out into the huge passages of the mountain-palace and up towards the Front Gate.

There is a story that Simonides was dining at the house of a wealthy nobleman named Scopas at Crannon in Thessaly, and chanted a lyric poem which he had composed in honor of his host, in which he followed the custom of the poets by including for decorative purposes a long passage referring to Castor and Pollux; whereupon Scopas with excessive meanness told him he would pay him half the fee agreed on for the poem, and if he liked he might apply for the balance to his sons of Tyndaraus, as they had gone halves in the panegyric. The story runs that a little later a message was brought to Simonides to go outside, as two young men were standing at the door who earnestly requested him to come out; so he rose from his seat and went out, and could not see anybody; but in the interval of his absence the roof of the hall where Scopas was giving the banquet fell in, crushing Scopas himself and his relations underneath the ruins and killing them; and when their friends wanted to bury them but were altogether unable to know them apart as they had been completely crushed, the story goes that Simonides was enabled by his recollection of the place in which each of them had been reclining at table to identify them for separate interment; and that this circumstance suggested to him the discovery of the truth that the best aid to clearness of memory consists in orderly arrangement. He inferred that persons desiring to train this faculty must select localities and form mental images of the facts they wish to remember and store those images in the localities, with the result that the arrangement of the localities will preserve the order of the facts, and the images of the facts will designate the facts themselves, and we shall employ the localities and images respectively as a wax writing tablet and the letters written on it.

...he used to speak of how with very great paintings it's possible to know them deeply, inhabit them almost, even through copies. Even Proust -- there's a famous passage where Odette opens the door with a cold, she's sulky, her hair is loose and undone, her skin is patchy, and Swann, who has never cared about her until that moment, falls in love with her because she looks like a Botticelli girl from a slightly damaged fresco. Which Proust himself only knew from a reproduction. He never saw the original, in the Sistine Chapel. But even so -- the whole novel is in some ways about that moment. And the damage is part of the attraction, the painting's blotchy cheeks. Even through a copy Proust was able to re-dream the image, re-shape reality with it, pull something all his own from it into the world. Because -- the line of beauty is the line of beauty. It doesn't matter if it's been through the Xerox machine a hundred times.

So these Kings and Queens entered the thicket, and before they had gone a score of paces, they all remembered that the thing they had seen was called a lamppost, and before they had gone twenty more, they noticed that they were making their way not through branches but through coats. And next moment they all came tumbling out of a wardrobe door into the empty room, and they were no longer Kings and Queens in their hunting array but just Peter, Susan, Edmund, and Lucy in their old clothes. It was the same day and the same hour of the day on which they had all gone into the wardrobe to hide. Mrs. Macready and the visitors were still talking I the passage; but luckily they never came into the empty room and so the children weren’t caught. And that would have been the very end of the story if it hadn’t been that they felt they really must explain to the Professor why four of the coats out of his wardrobe were missing. And the Professor, who was a very remarkable man, didn’t tell them not to be silly or not to tell lies, but believed the whole story. “No,” he said, “I don’t think it will be any good trying to go back through the wardrobe door to get the coats. You won’t get into Narnia again by that route. Nor would the coats be much use by now if you did! Eh? What’s that? Yes, of course you’ll get back to Narnia again someday. Once a King in Narnia, always a King in Narnia. But don’t go trying to use the same route twice. Indeed, don’t try to get there at all. It’ll happen when you’re not looking for it. And don’t talk too much about it even among yourselves. And don’t mention it to anyone else unless you find that they’ve had adventures of the same sort themselves. What’s that? How will you know? Oh, you’ll know all right. Odd things they say--even their looks--will let the secret out. Keep your eyes open. Bless me, what do they teach them at these schools?” And that is the very end of the adventures of the wardrobe. But if the Professor was right, it was only the beginning of the adventures of Narnia.

Nothing sets a person up more than having something turn out just the way it’s supposed to be, like falling into a Swiss snowdrift and seeing a big dog come up with a little cask of brandy round its neck. The first time I traveled on the Orient Express I was accosted by a woman who was later arrested and turned out to be a quite well-known international spy. When I talked with Al Capone there was a submachine gun poking through the transom of the door behind him. Ernest Hemingway spoke out of the corner of his mouth. In an Irish castle a sow ran right across the baronial hall. The first Minister of Government I met told me a most horrible lie almost immediately. These things were delightful, and so was my first view of the Times office in London. In the Foreign Editorial Room a subeditor was translating a passage of Plato’s Phaedo into Chinese, for a bet. Another subeditor had declared it could not be done without losing a certain nuance of the original. He was dictating the Greek passage aloud from memory.

Closing the door behind him, Macdonald stood still in the darkness, as he had stood so often in other buildings. Houses, barns, shops, flats, warehouses, all dark, as this passage was dark, but having in the darkness their own character because each had its own peculiar smell. Gramarye smelt of floor polish and carbolic and soap: something of the unwelcoming smell of an institution, but behind the overlay of modern cleanliness, the smell of the ancient house declared itself, of old mortar, of stone walls built without damp courses, of woodwork decaying under coats of paint, of panelling and floor boards which gave out their ancient breath as the coldness of the stone house triumphed over the warmth of the midsummer evening.

While disease had thus become an inhabitant of Lowood, and death its frequent visitor; while there was gloom and fear within its walls; while its rooms and passages steamed with hospital smells, the drug and the pastille striving vainly to overcome the effluvia of mortality, that bright May shone unclouded over the bold hills and beautiful woodland out of doors. Its garden, too, glowed with flowers: hollyhocks had sprung up tall as trees, lilies had opened, tulips and roses were in bloom; the borders of the little beds were gay with pink thrift and crimson double daisies; the sweetbriars gave out, morning and evening, their scent of spice and apples; and these fragrant treasures were all useless for most of the inmates of Lowood, except to furnish now and then a handful of herbs and blossoms to put in a coffin.

concrete example will explain this more clearly. It is known that the atoms of radium, and of other radio-active substances, disintegrate into atoms of lead and helium with the mere passage of time, so that a mass of radium continually diminishes in amount, being replaced by lead and helium. The law which governs the rate of diminution is very remarkable. The amount of radium decreases in precisely the same way as a population would if there were no births, and a uniform death-rate which was the same for every individual, regardless of his age. Or again, it decreases in the same way as the numbers of a battalion of soldiers who are exposed to absolutely random undirected fire. In brief, old age appears to mean nothing to the individual radium atom; it does not die because it has lived its life, but rather because in some way fate knocks at the door.

The entire end-of-October night was beating with a single pulse, its own strange rhythm sounding through trees and rain and mud in a manner beyond words or vision: a vision present in the low light, in the slow passage of darkness, in the blurred shadows, in the working of tired muscles; in the silence, in its human subjects, in the undulating surface of the metaled road; in the hair moving to a different beat than do the dissolving fibers of the body; growth and decay on their divergent paths; all these thousands of echoing rhythms, this confusing clatter of night noises, all parts of an apparently common stream, that is the attempt to forget despair; though behind things other things appear as if by mischief, and once beyond the power of the eye they no longer hang together. So with the door left open as if forever, with the lock that will never open.

She opened the door of the room and went into the corridor, and then she began her wanderings. It was a long corridor and it branched into other corridors and it led her up short flights of steps which mounted to others again. There were doors and doors, and there were pictures on the walls. Sometimes they were pictures of dark, curious landscapes, but oftenest they were portraits of men and women in queer, grand costumes made of satin and velvet. She found herself in one long gallery whose walls were covered with these portraits. She had never thought there could be so many in any house. She walked slowly down this place and stared at the faces which also seemed to stare at her. She felt as if they were wondering what a little girl from India was doing in their house. Some were pictures of children—little girls in thick satin frocks which reached to their feet and stood out about them, and boys with puffed sleeves and lace collars and long hair, or with big ruffs around their necks. She always stopped to look at the children, and wonder what their names were, and where they had gone, and why they wore such odd clothes. There was a stiff, plain little girl rather like herself. She wore a green brocade dress and held a green parrot on her finger. Her eyes had a sharp, curious look. "Where do you live now?" said Mary aloud to her. "I wish you were here." Surely no other little girl ever spent such a queer morning. It seemed as if there was no one in all the huge rambling house but her own small self, wandering about up-stairs and down, through narrow passages and wide ones, where it seemed to her that no one but herself had ever walked. Since so many rooms had been built, people must have lived in them, but it all seemed so empty that she could not quite believe it true.

Max had a book with her and began leafing through it, looking for something. "There's a passage our conversation reminds me of ..." "What?" "In the Upanishads -- a series of Sanskrit works which are part of the Veda. Here it is Pol, listen: In this body, in this town of Spirit, there is a little house shaped like a lotus, and in that house there is a little space. There is as much in that little space within the heart as there is in the whole world outside. Maybe that little space is the realty of your you and my me?" "Could I copy that?" I asked. "Of course. I've been watching that little space within your heart enlarging all year as more and more ideas are absorbed into it. Some people close their doors and lock them so that nothing can come in, and the space cannot hold anything as long as the heart clutches in self-protection or lust or greed. But if we're not afraid, that little space can be so large that one could put a whole universe in it and still have room for more.

At that time I found that many of the citizens had been living under ground. The ridges upon which Vicksburg is built, and those back to the Big Black, are composed of a deep yellow clay of great tenacity. Where roads and streets are cut through, perpendicular banks are left and stand as well as if composed of stone. The magazines of the enemy were made by running passage-ways into this clay at places where there were deep cuts. Many citizens secured places of safety for their families by carving out rooms in these embankments. A door-way in these cases would be cut in a high bank, starting from the level of the road or street, and after running in a few feet a room of the size required was carved out of the clay, the dirt being removed by the door-way. In some instances I saw where two rooms were cut out, for a single family, with a door-way in the clay wall separating them. Some of these were carpeted and furnished with considerable elaboration. In these the occupants were fully secure from the shells of the navy,

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

Kevin tried to sleep with a pillow tight over his face, and he nearly suffocated himself. When he tiptoed over to close the door, they were talking in a subdued tone on the narrow couch. Colette's bare legs were curled up on the pillows, her head riding on the camelback motion of his chest. But her eyes were open, and she looked more adrift than comforted. In a tired baritone, Jerry was talking about prison. It was a horror story -- about the echoing screams of young kids and eyeballs cut open with smuggled razor blades, beginning as the usual speech about the hell he'd seen. But somehow it bcame a lonesome country-western love song, about how every long night of his life he had dreamed of a woman like her-- quick-witted and beautiful and tenacious. It was more than Kevin expected from the man. He told her that if he could buy her safe passage out of this life, hers and Kevin's, he would; but it was hard with a teenage son always pressing to know more and a tiring and insatiable young girlfriend who wanted to devour the world. Think of the pressure on him. "You need to know that we're together like this partly because of you. You keep us up and running. I know it and Kevin knows it. I'm not a good person, Colette -- I never claimed to be, I don't want to be, and you can't expect me to be. But look me in the eye and accept me as a snake, and I'll tell you whatever you're waiting to hear: I need you, I want you, I hurt for you, down in the dust, honey, down in the dust of my bones." She interrupted him with kisses that sounded like determined sips at a scalding drink.

We have not thoroughly assessed the bodies snatched from dirt and sand to be chained in a cell. We have not reckoned with the horrendous, violent mass kidnapping that we call the Middle Passage. We have not been honest about all of America's complicity - about the wealth the South earned on the backs of the enslaved, or the wealth the North gained through the production of enslaved hands. We have not fully understood the status symbol that owning bodies offered. We have not confronted the humanity, the emotions, the heartbeats of the multiple generations who were born into slavery and died in it, who never tasted freedom on America's land. The same goes for the Civil War. We have refused to honestly confront the fact that so many were willing to die in order to hold the freedom of others in their hands. We have refused to acknowledge slavery's role at all, preferring to boil things down to the far more palatable "state's rights." We have not confessed that the end of slavery was so bitterly resented, the rise of Jim Crow became inevitable - and with it, a belief in Black inferiority that lives on in hearts and minds today. We have painted the hundred-year history of Jim Crow as little more than mean signage and the inconvenience that white people and Black people could not drink from the same fountain. But those signs weren't just "mean". They were perpetual reminders of the swift humiliation and brutal violence that could be suffered at any moment in the presence of whiteness. Jim Crow meant paying taxes for services one could not fully enjoy; working for meager wages; and owning nothing that couldn't be snatched away. For many black families, it meant never building wealth and never having legal recourse for injustice. The mob violence, the burned-down homes, the bombed churches and businesses, the Black bodies that were lynched every couple of days - Jim Crow was walking through life measuring every step. Even our celebrations of the Civil Rights Movement are sanitized, its victories accentuated while the battles are whitewashed. We have not come to grips with the spitting and shouting, the pulling and tugging, the clubs, dogs, bombs, and guns, the passion and vitriol with which the rights of Black Americans were fought against. We have not acknowledged the bloodshed that often preceded victory. We would rather focus on the beautiful words of Martin Luther King Jr. than on the terror he and protesters endured at marches, boycotts, and from behind jail doors. We don't want to acknowledge that for decades, whiteness fought against every civil right Black Americans sought - from sitting at lunch counters and in integrated classrooms to the right to vote and have a say in how our country was run. We like to pretend that all those white faces who carried protest signs and batons, who turned on their sprinklers and their fire hoses, who wrote against the demonstrations and preached against the changes, just disappeared. We like to pretend that they were won over, transformed, the moment King proclaimed, "I have a dream." We don't want to acknowledge that just as Black people who experienced Jim Crow are still alive, so are the white people who vehemently protected it - who drew red lines around Black neighborhoods and divested them of support given to average white citizens. We ignore that white people still avoid Black neighborhoods, still don't want their kids going to predominantly Black schools, still don't want to destroy segregation. The moment Black Americans achieved freedom from enslavement, America could have put to death the idea of Black inferiority. But whiteness was not prepared to sober up from the drunkenness of power over another people group. Whiteness was not ready to give up the ability to control, humiliate, or do violence to any Black body in the vicinity - all without consequence.

They turned a corner and there ahead of them was the end of the passage. Another short flight of steps led to a door just like the one hidden behind Ariana’s portrait. Neville pushed it open and climbed through. As Harry followed, he heard Neville call out to unseen people: “Look who it is! Didn’t I tell you?” As Harry emerged into the room beyond the passage, there were several screams and yells: “HARRY!” “It’s Potter, it’s POTTER!” “Ron!” “Hermione!” He had a confused impression of colored hangings, of lamps and many faces. The next moment, he, Ron, and Hermione were engulfed, hugged, pounded on the back, their hair ruffled, their hands shaken, by what seemed to be more than twenty people: They might just have won a Quidditch final. “Okay, okay, calm down!” Neville called, and as the crowd backed away, Harry was able to take in their surroundings. He did not recognize the room at all. It was enormous, and looked rather like the interior of a particularly sumptuous tree house, or perhaps a gigantic ship’s cabin. Multicolored hammocks were strung from the ceiling and from a balcony that ran around the dark wood-paneled and windowless walls, which were covered in bright tapestry hangings: Harry saw the gold Gryffindor lion, emblazoned on scarlet;

He left his shoes on the mat, mounted the stair unshod. Caroline stole after, with noiseless step. There was a gallery, and there was a passage; at the end of that passage Martin paused before a door and tapped. He had to tap twice—thrice. A voice, known to one listener, at last said, "Come in." The boy entered briskly. "Mr. Moore, a lady called to inquire after you. None of the women were about. It is washing-day, and the maids are over the crown of the head in soap-suds in the back kitchen, so I asked her to step up." "Up here, sir?" "Up here, sir; but if you object, she shall go down again." "Is this a place or am I a person to bring a lady to, you absurd lad?" "No; so I'll take her off." "Martin, you will stay here. Who is she?" "Your grandmother from that château on the Scheldt Miss Moore talks about." "Martin," said the softest whisper at the door, "don't be foolish." 508"Is she there?" inquired Moore hastily. He had caught an imperfect sound. "She is there, fit to faint. She is standing on the mat, shocked at your want of filial affection." "Martin, you are an evil cross between an imp and a page. What is she like?" "More like me than you; for she is young and beautiful." "You are to show her forward. Do you hear?" "Come, Miss Caroline." "Miss Caroline!" repeated Moore.

Just as they reached the door to the accommodation section, it opened, and a small boy towing a travel bag along the floor behind him came through. A small dog poked his head out of one end of this bag—the pup had been zipped up inside. “Out of the way, son,” Harper said. The child stopped, and gaped up at the battle-archon. Behind him, his trapped pup growled. The rear end of the leather and cloth satchel oscillated wildly. “I wanted to see the angel,” the boy said. “Aunt Edith promised I could watch it kill something.” Hasp halted, still reeling, and looked down at the boy and his pet. “You want to see me kill?” he muttered. “Then order me to do so. You’re all Menoa’s fucking people on this train.” The boy brightened. “Do it!” he said. “Kill something now.” “As you wish.” Hasp kicked the dog with all of the strength he could muster. Had the animal been made of tougher stuff than flesh and bone, or had its bag been composed of something more substantial than woven thread, it might have made an impact hard enough to shatter the glass wall at the end of the corridor sixty feet away. Instead, the creature and the torn remains of its embroidered travel bag spattered against the opposite end of the passage in a series of wet smacks, more like a shower of red rain than anything resembling the corpse of a dog. The boy screamed. Hasp cricked his neck, then shoved the child aside and stomped away, his transparent armour swimming with rainbows.

A young person for Monsieur Jagiello,’ said the guard, with a grin. He stood away from the door, and there was the young person, holding a cloth-covered basket, blushing and hanging her pretty head. The others walked away to the window and talked in what they meant to be a detached, natural way; but few could help stealing glances at the maiden, and none could fail to hear Jagiello cry, ‘But my dear, dear Mademoiselle, I asked for black pudding and apples, no more. And here is foie gras, a gratin of lobster, a partridge, three kinds of cheese, two kinds of wine, a strawberry tart . . . ’ ‘I made it myself,’ said the young person. ‘I am sure it is wonderfully good: but it is much more than I can ever afford.’ ‘You must keep up your strength. You can pay for it later – or in some other way – or however you like.’ ‘But how?’ asked Jagiello, in honest amazement. ‘By a note of hand, do you mean?’ ‘Pray step into the passage,’ said she, pinker still. ‘There you are again,’ said Jack, drawing Stephen into another room. ‘Yesterday it was a thundering great patty, with truffles; and tomorrow we shall see a wedding-cake for his pudding, no doubt. What they see in him I cannot conceive. Why Jagiello, and the others ignored? Here is Fenton, for example, a fine upstanding fellow with side-whiskers that are the pride of the service – with a beard as thick as a coconut – has to shave twice a day – as strong as a horse, and a very fair seaman; but there are no patties for him.

It seems to me just as imbecile, just as infernal, to have to go to the office on Monday,' said Jonathan, 'as it always has done and always will do. To spend all the best years of one's life sitting on a stool from nine to five, scratching in somebody's ledger! It's a queer use to make of one's...one and only life, isn't it? Or do I fondly dream?' He rolled over on the grass and looked up at Linda. 'Tell me, what is the difference between my life and that of an ordinary prisoner? The only difference I can see is that I put myself in jail and nobody's ever going to let me out. That's a more intolerable situation than the other. For if I'd been--pushed in, against my will--kicking, even--once the door was locked, or at any rate in five years or so, I might have accepted the fact and begun to take an interest in the flight of flies or counting the warder's steps along the passage with particular attention to variations of tread and so on. But as it is, I'm like an insect that's flown into a room of its own accord. I dash against the walls, dash against the windows, flop against the ceiling, do everything on God's earth, in fact, except fly out again. And all the while I'm thinking, like that moth, or that butterfly, or whatever it is, "The shortness of life! The shortness of life!" I've only one night or one day, and there's this vast dangerous garden, waiting out there, undiscovered, unexplored. [...] I'm exactly like that insect again. For some reason, it's not allowed, it's forbidden, it's against the insect law, to stop banging and flopping and crawling up the pane even for an instant.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

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

I left the woods for as good a reason as I went there. Perhaps it seemed to me that I had several more lives to live, and could not spare any more time for that one. It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves. I had not lived there a week before my feet wore a path from my door to the pond-side; and though it is five or six years since I trod it, it is still quite distinct. It is true, I fear, that others may have fallen into it, and so helped to keep it open. The surface of the earth is soft and impressible by the feet of men; and so with the paths which the mind travels. How worn and dusty, then, must be the highways of the world, how deep the ruts of tradition and conformity! I did not wish to take a cabin passage, but rather to go before the mast and on the deck of the world, for there I could best see the moonlight amid the mountains. I do not wish to go below now. I learned this, at least, by my experiment: that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours. He will put some things behind, will pass an invisible boundary; new, universal, and more liberal laws will begin to establish themselves around and within him; or the old laws be expanded, and interpreted in his favor in a more liberal sense, and he will live with the license of a higher order of beings. In proportion as he simplifies his life, the laws of the universe will appear less complex, and solitude will not be solitude, nor poverty poverty, nor weakness weakness. If you have built castles in the air, your work need not be lost; that is where they should be. Now put the foundations under them.

No, certainly. We shall not have to explore our way into a hall dimly lighted by the expiring embers of a wood fire—nor be obliged to spread our beds on the floor of a room without windows, doors, or furniture. But you must be aware that when a young lady is (by whatever means) introduced into a dwelling of this kind, she is always lodged apart from the rest of the family. While they snugly repair to their own end of the house, she is formally conducted by Dorothy, the ancient housekeeper, up a different staircase, and along many gloomy passages, into an apartment never used since some cousin or kin died in it about twenty years before. Can you stand such a ceremony as this? Will not your mind misgive you when you find yourself in this gloomy chamber—too lofty and extensive for you, with only the feeble rays of a single lamp to take in its size—its walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funereal appearance? Will not your heart sink within you?” “Oh! But this will not happen to me, I am sure.” “How fearfully will you examine the furniture of your apartment! And what will you discern? Not tables, toilettes, wardrobes, or drawers, but on one side perhaps the remains of a broken lute, on the other a ponderous chest which no efforts can open, and over the fireplace the portrait of some handsome warrior, whose features will so incomprehensibly strike you, that you will not be able to withdraw your eyes from it. Dorothy, meanwhile, no less struck by your appearance, gazes on you in great agitation, and drops a few unintelligible hints. To raise your spirits, moreover, she gives you reason to suppose that the part of the abbey you inhabit is undoubtedly haunted, and informs you that you will not have a single domestic within call. With this parting cordial she curtsies off—you listen to the sound of her receding footsteps as long as the last echo can reach you—and when, with fainting spirits, you attempt to fasten your door, you discover, with increased alarm, that it has no lock.

Once, on the road, Prim met a meditating sage who had spent most of his life on top of a flat rock. They had black bread and shared some ajash, as was custom. The sage was thankful, as the road was not very frequently traveled in those days and he was very near the point of starvation. During his conversation, he was delighted to learn of Prim’s extensive mastery of Empty Palms and the fifty five earthly purities. Delighted, and as payment for his meal, he taught Prim the meaning of watchfulness. This was the old breathing and cold-atum technique often used by warrior monks in those days. It ran through the following methodology: Build a tower, and make it impregnable. Make every stone so tightly sealed that no insect can squeeze through, no grain of sand can make it inside. Your tower must have no windows or doors. It must not accept passage by friend or foe. No weapon, no act of violence, and not one mote of love may penetrate its stony interior. “Why build the tower this way?” said Prim? “It will make you invincible,” said the sage, “This is the way of Ya-at slave monks. Their skin is like iron, and so are their hearts. They are inured to death and fear. Grief shall never find them, and neither shall weakness.” Prim thought a moment, and came upon a realization, for she was wise, obedient, and an excellent daughter. “If a man built a tower this way, he would quickly starve, no matter how strong he became.” The sage was even more delighted. “Yes,” he said, “There is a better way, and I will teach it to you: Once you have built your tower, you must deconstruct it, brick by brick, stone by stone. You must do it meticulously and carefully, so that while you leave no physical trace of it remaining, your tower is still built in your mind and your heart, ready to spring anew at a moment’s notice. You can enjoy the fresh air, and eat fine meals, and enjoy a good drink with your friends, but all the while your tower remains standing. You are both prisoner and warden. This is the hardest way, but the strongest.” Prim saw the wisdom in this, and quickly made to return to the road, but the sage stopped her before she left. “As you to your earlier remark,” the sage said, “The man who builds his tower but cannot take it apart again – that man is at the pinnacle of his strength. But that man will surely perish.” – Prim Masters the Road

I work as fast as I can. Binah will come soon looking for me. It’s Mother, however, who descends the back steps into the yard. Binah and the other house slaves are clumped behind her, moving with cautious, synchronized steps as if they’re a single creature, a centipede crossing an unprotected space. I sense the shadow that hovers over them in the air, some devouring dread, and I crawl back into the green-black gloom of the tree. The slaves stare at Mother’s back, which is straight and without give. She turns and admonishes them. “You are lagging. Quickly now, let us be done with this.” As she speaks, an older slave, Rosetta, is dragged from the cow house, dragged by a man, a yard slave. She fights, clawing at his face. Mother watches, impassive. He ties Rosetta’s hands to the corner column of the kitchen house porch. She looks over her shoulder and begs. Missus, please. Missus. Missus. Please. She begs even as the man lashes her with his whip. Her dress is cotton, a pale yellow color. I stare transfixed as the back of it sprouts blood, blooms of red that open like petals. I cannot reconcile the savagery of the blows with the mellifluous way she keens or the beauty of the roses coiling along the trellis of her spine. Someone counts the lashes—is it Mother? Six, seven. The scourging continues, but Rosetta stops wailing and sinks against the porch rail. Nine, ten. My eyes look away. They follow a black ant traveling the far reaches beneath the tree—the mountainous roots and forested mosses, the endless perils—and in my head I say the words I fashioned earlier. Boy Run. Girl Jump. Sarah Go. Thirteen. Fourteen . . . I bolt from the shadows, past the man who now coils his whip, job well done, past Rosetta hanging by her hands in a heap. As I bound up the back steps into the house, Mother calls to me, and Binah reaches to scoop me up, but I escape them, thrashing along the main passage, out the front door, where I break blindly for the wharves. I don’t remember the rest with clarity, only that I find myself wandering across the gangplank of a sailing vessel, sobbing, stumbling over a turban of rope. A kind man with a beard and a dark cap asks what I want. I plead with him, Sarah Go. Binah chases me, though I’m unaware of her until she pulls me into her arms and coos, “Poor Miss Sarah, poor Miss Sarah.” Like a decree, a proclamation, a prophecy. When I arrive home, I am a muss of snot, tears, yard dirt, and harbor filth. Mother holds me against her, rears back and gives me an incensed shake, then clasps me again. “You must promise never to run away again. Promise me.” I want to. I try to. The words are on my tongue—the rounded lumps of them, shining like the marbles beneath the tree. “Sarah!” she demands. Nothing comes. Not a sound. I remained mute for a week. My words seemed sucked into the cleft between my collar bones. I rescued them by degrees, by praying, bullying and wooing. I came to speak again, but with an odd and mercurial form of stammer. I’d never been a fluid speaker, even my first spoken words had possessed a certain belligerent quality, but now there were ugly, halting gaps between my sentences, endless seconds when the words cowered against my lips and people averted their eyes. Eventually, these horrid pauses began to come and go according to their own mysterious whims. They might plague me for weeks and then remain away months, only to return again as abruptly as they left.

The front door is locked—what’s up with that?” “Logan fixed the lock,” I tell her. Her bright red, heart-shaped mouth smiles. “Good job, Kevin Costner. You should staple the key to Ellie’s forehead, though, or she’ll lose it.” She has names for the other guys too and when her favorite guard, Tommy Sullivan, walks in a few minutes later, Marlow uses his. “Hello, Delicious.” She twirls her honey-colored, bouncy hair around her finger, cocking her hip and tilting her head like a vintage pinup girl. Tommy, the fun-loving super-flirt, winks. “Hello, pretty, underage lass.” Then he nods to Logan and smiles at me. “Lo . . . Good morning, Miss Ellie.” “Hey, Tommy.” Marlow struts forward. “Three months, Tommy. Three months until I’m a legal adult—then I’m going to use you, abuse you and throw you away.” The dark-haired devil grins. “That’s my idea of a good date.” Then he gestures toward the back door. “Now, are we ready for a fun day of learning?” One of the security guys has been walking me to school ever since the public and press lost their minds over Nicholas and Olivia’s still-technically-unconfirmed relationship. They make sure no one messes with me and they drive me in the tinted, bulletproof SUV when it rains—it’s a pretty sweet deal. I grab my ten-thousand-pound messenger bag from the corner. “I can’t believe I didn’t think of this before. Elle—you should have a huge banger here tonight!” says Marlow. Tommy and Logan couldn’t have synced up better if they’d practiced: “No fucking way.” Marlow holds up her hands, palms out. “Did I say banger?” “Huge banger,” Tommy corrects. “No—no fucking way. I meant, we should have a few friends over to . . . hang out. Very few. Very mature. Like . . . almost a study group.” I toy with my necklace and say, “That actually sounds like a good idea.” Throwing a party when your parents are away is a rite-of-high-school passage. And after this summer, Liv will most likely never be away again. It’s now or never. “It’s a terrible idea.” Logan scowls. He looks kinda scary when he scowls. But still hot. Possibly, hotter. Marlow steps forward, her brass balls hanging out and proud. “You can’t stop her—that’s not your job. It’s like when the Bush twins got busted in that bar with fake IDs or Malia was snapped smoking pot at Coachella. Secret Service couldn’t stop them; they just had to make sure they didn’t get killed.” Tommy slips his hands in his pockets, laid back even when he’s being a hardass. “We could call her sister. Even from an ocean away, I’d bet she’d stop her.” “No!” I jump a little. “No, don’t bother Liv. I don’t want her worrying.” “We could board up the fucking doors and windows,” Logan suggests. ’Cause that’s not overkill or anything. I move in front of the two security guards and plead my case. “I get why you’re concerned, okay? But I have this thing—it’s like my motto. I want to suck the lemon.” Tommy’s eyes bulge. “Suck what?” I laugh, shaking my head. Boys are stupid. “You know that saying, ‘When life gives you lemons, make lemonade’?—well, I want to suck the lemon dry.” Neither of them seems particularly impressed. “I want to live every bit of life, experience everything it has to offer, good and bad.” I lift my jeans to show my ankle—and the little lemon I’ve drawn there. “See? When I’m eighteen, I’m going to get this tattooed on for real. As a reminder to live as much and as hard and as awesome as I can—to not take anything for granted. And having my friends over tonight is part of that.” I look back and forth between them. Tommy’s weakening—I can feel it. Logan’s still a brick wall. “It’ll be small. And quiet—I swear. Totally controlled. And besides, you guys will be here with me. What could go wrong?” Everything. Everything goes fucking wrong.