Play It As It Lays Book Quotes

Rhys shuddered, and I watched his cock twitch. “Play later,” he ground out. Indeed. His mouth found mine, the kiss open and deep, a clash of tongues and teeth. He lay me down on the pillows, and I locked my legs around his back, careful of the wings. Though I stopped caring as he nudged at my entrance. And paused. “Play later,” I snarled into his mouth. Rhys laughed and slid in. And in. And in.

There is no need to be worried by facetious people who try to make the Christian hope of ‘Heaven’ ridiculous by saying they do not want ‘to spend eternity playing harps’. The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it. People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

He was a quick fellow, and when hot from play, would toss himself in a corner, and in five minutes be deep in any sort of book that he could lay his hands on: if it were Rasselas or Gulliver, so much the better, but Bailey's Dictionary would do, or the Bible with the Apocrypha in it. Something he must read, when he was not riding the pony, or running and hunting, or listening to the talk of men. All this was true of him at ten years of age; he had then read through Chrysal, or the Adventures of a Guinea, which was neither milk for babes, nor any chalky mixture meant to pass for milk, and it had already occurred to him that books were stuff, and that life was stupid.

Hang the boy, can't I never learn anything? Ain't he played tricks on me enough like that for me to be looking out for him by this time? But old fools is the biggest fools there is. Can;t learn an old dog new tricks, as the saying is. But my goodness, he never plays them alike, two days, and how is a body to know what's coming? He 'pears to know just how long he can torment me before I get my dander up and he knows if he can make out to put me off for a minute or make me laugh, it's all down again and I can't hit him a lick. I ain't doing my duty by that boy, and that's the Lord's truth, goodness knows. Spare the rod and spile the child, as the Good Book says. I'm a-laying up sin and suffering for the both of us, I know. He's full of the Old Scratch, but laws-a-me! he's my own dead sister's boy, poor thing, and I ain't got the heart to lash him, somehow. Every time I let him off, my conscience does hurt me so, and every time I hit him my old heart almost breaks. Well-a-well, man that is born of woman is of few days and full of trouble, as the Scripture says, and I reckon it's so. He'll play hooky this evening, and I'll just be obleeged to make him work tomorrow, to punish him. It's mighty hard to make him work Saturdays, when all the boys is having holiday, but he hates work more than he hates anything else, and I've got to do some of my duty by him, or I'll be the ruination of the child.

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

Dear Jim." The writing grew suddenly blurred and misty. And she had lost him again--had lost him again! At the sight of the familiar childish nickname all the hopelessness of her bereavement came over her afresh, and she put out her hands in blind desperation, as though the weight of the earth-clods that lay above him were pressing on her heart. Presently she took up the paper again and went on reading: "I am to be shot at sunrise to-morrow. So if I am to keep at all my promise to tell you everything, I must keep it now. But, after all, there is not much need of explanations between you and me. We always understood each other without many words, even when we were little things. "And so, you see, my dear, you had no need to break your heart over that old story of the blow. It was a hard hit, of course; but I have had plenty of others as hard, and yet I have managed to get over them,--even to pay back a few of them,--and here I am still, like the mackerel in our nursery-book (I forget its name), 'Alive and kicking, oh!' This is my last kick, though; and then, tomorrow morning, and--'Finita la Commedia!' You and I will translate that: 'The variety show is over'; and will give thanks to the gods that they have had, at least, so much mercy on us. It is not much, but it is something; and for this and all other blessings may we be truly thankful! "About that same tomorrow morning, I want both you and Martini to understand clearly that I am quite happy and satisfied, and could ask no better thing of Fate. Tell that to Martini as a message from me; he is a good fellow and a good comrade, and he will understand. You see, dear, I know that the stick-in-the-mud people are doing us a good turn and themselves a bad one by going back to secret trials and executions so soon, and I know that if you who are left stand together steadily and hit hard, you will see great things. As for me, I shall go out into the courtyard with as light a heart as any child starting home for the holidays. I have done my share of the work, and this death-sentence is the proof that I have done it thoroughly. They kill me because they are afraid of me; and what more can any man's heart desire? "It desires just one thing more, though. A man who is going to die has a right to a personal fancy, and mine is that you should see why I have always been such a sulky brute to you, and so slow to forget old scores. Of course, though, you understand why, and I tell you only for the pleasure of writing the words. I loved you, Gemma, when you were an ugly little girl in a gingham frock, with a scratchy tucker and your hair in a pig-tail down your back; and I love you still. Do you remember that day when I kissed your hand, and when you so piteously begged me 'never to do that again'? It was a scoundrelly trick to play, I know; but you must forgive that; and now I kiss the paper where I have written your name. So I have kissed you twice, and both times without your consent. "That is all. Good-bye, my dear" Then am I A happy fly, If I live Or if I die

Smiling victoriously, he crushed me against his chest and kissed me again. This time, the kiss was bolder and playful. I ran my hands from his powerful shoulders, up to his neck, and pressed him close to me. When he pulled away, his face brightened with an enthusiastic smile. He scooped me up and spun me around the room, laughing. When I was thoroughly dizzy, he sobered and touched his forehead to mine. Shyly, I reached out to touch his face, exploring the angles of his cheeks and lips with my fingertips. He leaned into my touch like the tiger did. I laughed softly and ran my hands up into his hair, brushing it away from his forehead, loving the silky feel of it. I felt overwhelmed. I didn’t expect a first kiss to be so…life altering. In a few brief moments, the rule book of my universe had been rewritten. Suddenly I was a brand new person. I was as fragile as a newborn, and I worried that the deeper I allowed the relationship to progress, the worse that the deeper I allowed the relationship to progress, the worse it would be if Ren left. What would become of us? There was no way to know, and I realized what a breakable and delicate thing a heart was. No wonder I’d kept mine locked away. He was oblivious to my negative thoughts, and I tried to push them into the back of my mind and enjoy the moment with him. Setting me down, he briefly kissed me again and pressed soft kisses along my hairline and neck. Then, he gathered me into a warm embrace and just held me close. Stroking my hair while caressing my neck, he whispered soft words in his native language. After several moments, he sighed, kissed my cheek, and nudged me toward the bed. “Get some sleep, Kelsey. We both need some.” After one last caress on my cheek with the back of his fingers, he changed into his tiger form and lay down on the mat beside my bed. I climbed into bed, settled under my quilt, and leaned over to stroke his head. Tucking my other arm under my cheek, I softly said, “Goodnight, Ren.” He rubbed his head against my hand, leaned into it, and purred quietly. Then he put his head on his paws and closed his eyes. Mae West, a famous vaudeville actress, once said, “A man’s kiss is his signature.” I grinned to myself. If that was true, then Ren’s signature was the John Hancock of kisses.

PROLOGUE Have you ever had the feeling that someone was playing with your destiny? If so, this book is for you! Destiny is certainly something people like to talk about. Wherever we go, we hear it mentioned in conversations or proverbs that seek to lay bare its mysteries. If we analyse people’s attitude towards destiny a little, we find straight away that at one extreme are those who believe that everything in life is planned by a higher power and that therefore things always happen for a reason, even though our limited human understanding cannot comprehend why. In this perspective, everything is preordained, regardless of what we do or don’t do. At the other extreme we find the I can do it! believers. These focus on themselves: anything is possible if done with conviction, as part of the plan that they have drawn up themselves as the architects of their own Destiny. We can safely say that everything happens for a reason. Whether it’s because of decisions we take or simply because circumstances determine it, there is always more causation than coincidence in life. But sometimes such strange things happen! The most insignificant occurrence or decision can give way to the most unexpected futures. Indeed, such twists of fate may well be the reason why you are reading my book now. Do you have any idea of the number of events, circumstances and decisions that had to conspire for me to write this and for you to be reading it now? There are so many coincidences that had to come together that it might almost seem a whim of destiny that today we are connected by these words. One infinitesimal change in that bunch of circumstances and everything would have been quite different… All these fascinating issues are to be found in Equinox. I enjoy fantasy literature very much because of all the reality it involves. As a reader you’re relaxed, your defences down, trying to enjoy an loosely-structured adventure. This is the ideal space for you to allow yourself to be carried away to an imaginary world that, paradoxically, will leave you reflecting on real life questions that have little to do with fiction, although we may not understand them completely.

The book thief lay in bed that night, and the boy only came before she closed her eyes. He was one member of a cast, for Liesel was always visited in that room. Her papa stood and called her half a woman. Max was writing The Word Shaker in the corner. Rudy was naked by the door. Occasionally her mother stood on a bedside train platform. And far away, in the room that stretched like a bridge to a nameless town, her brother, Werner, played in the cemetery snow.

SPACEBALL RICOCHET" "I'm just a man I understand the wind And all the things that make the children cry With my Les Paul I know I'm small But I enjoy living anyway Book after book I get hooked everytime The writer talks to me like a friend What can I do We just live in a zoo All I do is play the spaceball ricochet Deep in my heart There's a house That can hold just about all of you I bought a car It was old but kind I gave it my mind and it disappeared I love a girl She is a changeless angel She's a city it's a pity that I'm like me I said how can I lay When all I do is play The spaceball ricochet I'm just a man I understand the wind And all the things that make the children cry With my Les Paul I know I'm small But I enjoy living anyway, yes too Deep in my heart There's a house That can hold just about all of you How can I lay When all I do is play The spaceball ricochet Oh Baby, the spaceball ricochet Oh Mama, the spaceball Oh, do the spaceball ...

There is no need to be worried by facetious people who try to make the Christian hope of “Heaven” ridiculous by saying they do not want “to spend eternity playing harps.” The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it. People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

Or on retiring to Prunesquallors' he might take down one of the Doctor's many books and read, for these days a passion to accumulate knowledge of any and every kind consumed him; but only as a means to an end. He must know all things, for only so might he have, when situations arose in the future, a full pack of cards to play from. He imagined himself occasions when the conversation of one from who he foresaw advancement might turn to astronomy, metaphysics, history, chemistry, or literature, and he realized that to be able to drop into the argument a lucid and exact thought, an opinion based on what might *appear* to be a life-time study, would instantaneously gain more for him than waiting until the conversation turned upon what lay within his scope of experience.

PROLOGUE Equinox: Whispers of Destiny Have you ever had the feeling that someone was playing with your destiny? If so, this book is for you. Destiny is certainly a topic people like to talk about. Wherever we go, we hear it mentioned in conversations or proverbs that seek to lay bare its mysteries. If we analyze people’s attitude towards destiny a little, we find straight away that at one extreme there are those who believe that everything in life is planned by a higher power and that therefore things always happen for a reason, even though our limited human understanding cannot comprehend why. In that perspective, everything is preordained, regardless of what we do or don’t do. At the other extreme we find the I can do it! Believers. These focus on themselves: anything is possible if done with conviction, as part of the plan that they have drawn up themselves as the architects of their own destiny. We can safely say that everything happens for a reason. Whether it’s because of decisions we take or simply because circumstances determine it, there is always more causation than coincidence in life. But sometimes such strange things happen. The most insignificant occurrence or decision can give way to the most unexpected futures. Indeed, such twists of fate may well be the reason why you are reading my book now. Do you have any idea of the number of events, circumstances and decisions that had to conspire for me to write this and for you to be reading it now? There are so many coincidences that had to come together that it might almost seem a whim of destiny that today we are connected by these words. One infinitesimal change in that set of circumstances and everything would have been quite different… All these fascinating ideas are to be found in Equinox. I am drawn to fantasy literature because of all the coincidences to reality. As a reader you’re relaxed, your defenses down, trusting the writer to take you on an adventure. This is the ideal space for you to allow yourself to be carried away to an imaginary world that, paradoxically, will leave you reflecting on life questions that have little to do with fiction, but I ask you that perhaps maybe they do.   Gonzalo Guma

Not every artist has to make a living making art. Millions of people who play guitar would do well to keep their day jobs. Plenty of people make incredible art "on the side". William Faulkner wasn't any less of an artist for writing As I lay Dying on the back of a wheelbarrow during breaks in his job shoveling coal for the electric company.

But here we must consider that it is highly inconvenient to suppose the Supreme and Highest to be similar merely to a performer on the zither who cannot play in the absence of the instrument; thus would a Creator be unable to create because that which he is able to create cannot be created by him. This would lay down an obvious contradiction which cannot be overlooked save by the most ignorant.

A group of Sphinxes plucked books off of the shelves and lay down in the grass, looking enraptured while Orion murmured to me that their kind could step right into the pages of a story. They didn't just see it in their head, they lived every word, the whole thing playing out in their minds as if they were the main character, and that sounded pretty awesome. It must have been incredible to experience your favourite books first hand, to fall so deeply between the pages that it seemed as if those worlds really existed.

In the years since the disaster, I often think of my friend Arturo Nogueira, and the conversations we had in the mountains about God. Many of my fellow survivors say they felt the personal presence of God in the mountains. He mercifully allowed us to survive, they believe, in answer to our prayers, and they are certain it was His hand that led us home. I deeply respect the faith of my friends, but, to be honest, as hard as I prayed for a miracle in the Andes, I never felt the personal presence of God. At least, I did not feel God as most people see Him. I did feel something larger than myself, something in the mountains and the glaciers and the glowing sky that, in rare moments, reassured me, and made me feel that the world was orderly and loving and good. If this was God, it was not God as a being or a spirit or some omnipotent, superhuman mind. It was not a God who would choose to save us or abandon us, or change in any way. It was simply a silence, a wholeness, an awe-inspiring simplicity. It seemed to reach me through my own feelings of love, and I have often thought that when we feel what we call love, we are really feeling our connection to this awesome presence. I feel this presence still when my mind quiets and I really pay attention. I don’t pretend to understand what it is or what it wants from me. I don’t want to understand these things. I have no interest in any God who can be understood, who speaks to us in one holy book or another, and who tinkers with our lives according to some divine plan, as if we were characters in a play. How can I make sense of a God who sets one religion above the rest, who answers one prayer and ignores another, who sends sixteen young men home and leaves twenty-nine others dead on a mountain? There was a time when I wanted to know that god, but I realize now that what I really wanted was the comfort of certainty, the knowledge that my God was the true God, and that in the end He would reward me for my faithfulness. Now I understand that to be certain–-about God, about anything–-is impossible. I have lost my need to know. In those unforgettable conversations I had with Arturo as he lay dying, he told me the best way to find faith was by having the courage to doubt. I remember those words every day, and I doubt, and I hope, and in this crude way I try to grope my way toward truth. I still pray the prayers I learned as a child–-Hail Marys, Our Fathers–-but I don’t imagine a wise, heavenly father listening patiently on the other end of the line. Instead, I imagine love, an ocean of love, the very source of love, and I imagine myself merging with it. I open myself to it, I try to direct that tide of love toward the people who are close to me, hoping to protect them and bind them to me forever and connect us all to whatever there is in the world that is eternal. …When I pray this way, I feel as if I am connected to something good and whole and powerful. In the mountains, it was love that kept me connected to the world of the living. Courage or cleverness wouldn’t have saved me. I had no expertise to draw on, so I relied upon the trust I felt in my love for my father and my future, and that trust led me home. Since then, it has led me to a deeper understanding of who I am and what it means to be human. Now I am convinced that if there is something divine in the universe, the only way I will find it is through the love I feel for my family and my friends, and through the simple wonder of being alive. I don’t need any other wisdom or philosophy than this: My duty is to fill my time on earth with as much life as possible, to become a little more human every day, and to understand that we only become human when we love. …For me, this is enough.

Yet when the ribbon was cut and the band had played, serious questions still had to be addressed. Who was the library intended to serve? Should children be admitted? What of those who saw the library mainly as a warm place to shelter while leafing through a newspaper? The issue was complicated by the fact that neither Andrew Carnegie, whose fortune funded a swathe of civic libraries across America and the United Kingdom, nor the British Public Libraries Act made provision for the purchase of books. These decisions lay in the hands of the

There is no need to be worried by facetious people who try to make the Christian hope of ‘Heaven’ ridiculous by saying they do not want ‘to spend eternity playing harps’. The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible... People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

Despite all the admiration M. Swann might profess for these figures of Giotto, it was a long time before I could find any pleasure in seeing in our schoolroom (where the copies he had brought me were hung) Charity devoid of charity, that Envy who looked like nothing so much as a plate in some medical book, illustrating the compression of the glottis or uvula by a tumour in the tongue, or by the introduction of the operator's instrument, a Justice whose greyish and meanly regular features were the very same as those which adorned the faces of certain good and pious and slightly withered ladies of Combray whom I used to see at mass, many of whom had long been enrolled in the reserve forces of Injustice. But in later years I understood the arresting strangeness, the special beauty of these frescoes lay in the great part played in each of them by its symbols, while the fact that these were depicted, not as symbols (for the thought symbolized was nowhere expressed), but as real things, actually felt or materially handled, added something more precise and more literal to their meaning, something more concrete and more striking to the lesson they imparted.

In the modern era, teachers and scholarship have traditionally laid strenuous emphasis on the fact that Briseis, the woman taken from Achilles in Book One, was his géras, his war prize, the implication being that her loss for Achilles meant only loss of honor, an emphasis that may be a legacy of the homoerotic culture in which the classics and the Iliad were so strenuously taught—namely, the British public-school system: handsome and glamorous Achilles didn’t really like women, he was only upset because he’d lost his prize! Homer’s Achilles, however, above all else, is spectacularly adept at articulating his own feelings, and in the Embassy he says, “‘Are the sons of Atreus alone among mortal men the ones / who love their wives? Since any who is a good man, and careful, / loves her who is his own and cares for her, even as I now / loved this one from my heart, though it was my spear that won her’ ” (9.340ff.). The Iliad ’s depiction of both Achilles and Patroklos is nonchalantly heterosexual. At the conclusion of the Embassy, when Agamemnon’s ambassadors have departed, “Achilles slept in the inward corner of the strong-built shelter, / and a woman lay beside him, one he had taken from Lesbos, / Phorbas’ daughter, Diomede of the fair colouring. / In the other corner Patroklos went to bed; with him also / was a girl, Iphis the fair-girdled, whom brilliant Achilles / gave him, when he took sheer Skyros” (9.663ff.). The nature of the relationship between Achilles and Patroklos played an unlikely role in a lawsuit of the mid-fourth century B.C., brought by the orator Aeschines against one Timarchus, a prominent politician in Athens who had charged him with treason. Hoping to discredit Timarchus prior to the treason trial, Aeschines attacked Timarchus’ morality, charging him with pederasty. Since the same charge could have been brought against Aeschines, the orator takes pains to differentiate between his impulses and those of the plaintiff: “The distinction which I draw is this—to be in love with those who are beautiful and chaste is the experience of a kind-hearted and generous soul”; Aeschines, Contra Timarchus 137, in C. D. Adams, trans., The Speeches of Aeschines (Cambridge, MA, 1958), 111. For proof of such love, Aeschines cited the relationship between Achilles and Patroklos; his citation is of great interest for representing the longest extant quotation of Homer by an ancient author. 32

When Benjamin Bloom studied his 120 world-class concert pianists, sculptors, swimmers, tennis players, mathematicians, and research neurologists, he found something fascinating. For most of them, their first teachers were incredibly warm and accepting. Not that they set low standards. Not at all, but they created an atmosphere of trust, not judgment. It was, “I’m going to teach you,” not “I’m going to judge your talent.” As you look at what Collins and Esquith demanded of their students—all their students—it’s almost shocking. When Collins expanded her school to include young children, she required that every four-year-old who started in September be reading by Christmas. And they all were. The three- and four-year-olds used a vocabulary book titled Vocabulary for the High School Student. The seven-year-olds were reading The Wall Street Journal. For older children, a discussion of Plato’s Republic led to discussions of de Tocqueville’s Democracy in America, Orwell’s Animal Farm, Machiavelli, and the Chicago city council. Her reading list for the late-grade-school children included The Complete Plays of Anton Chekhov, Physics Through Experiment, and The Canterbury Tales. Oh, and always Shakespeare. Even the boys who picked their teeth with switchblades, she says, loved Shakespeare and always begged for more. Yet Collins maintained an extremely nurturing atmosphere. A very strict and disciplined one, but a loving one. Realizing that her students were coming from teachers who made a career of telling them what was wrong with them, she quickly made known her complete commitment to them as her students and as people. Esquith bemoans the lowering of standards. Recently, he tells us, his school celebrated reading scores that were twenty points below the national average. Why? Because they were a point or two higher than the year before. “Maybe it’s important to look for the good and be optimistic,” he says, “but delusion is not the answer. Those who celebrate failure will not be around to help today’s students celebrate their jobs flipping burgers.… Someone has to tell children if they are behind, and lay out a plan of attack to help them catch up.” All of his fifth graders master a reading list that includes Of Mice and Men, Native Son, Bury My Heart at Wounded Knee, The Joy Luck Club, The Diary of Anne Frank, To Kill a Mockingbird, and A Separate Peace. Every one of his sixth graders passes an algebra final that would reduce most eighth and ninth graders to tears. But again, all is achieved in an atmosphere of affection and deep personal commitment to every student. “Challenge and nurture” describes DeLay’s approach, too. One of her former students expresses it this way: “That is part of Miss DeLay’s genius—to put people in the frame of mind where they can do their best.… Very few teachers can actually get you to your ultimate potential. Miss DeLay has that gift. She challenges you at the same time that you feel you are being nurtured.

Marketa really desired, with both her body and her senses, the women she considered Karel's mistresses. And she also desired them with her head: fulfilling the prophecy of her old math teacher, she wanted - at least to the limits of the disastrous contract - to show herself enterprising and playful, and to astonish Karel. But as soon as she found herself naked with them on the wide daybed, the sensual wanderings immediately vanished from her mind, and seeing her husband was enough to return her to her role, the role of the better one, the one who is wronged, Even when she was with Eva, whom she loved very much and of whom she was not jealous, the presence of the man she loved too well weighed heavily on her, stifling the pleasure of the senses. The moment she removed his head from the body, she felt the strange and intoxicating touch of freedom. That anonymity of the body was a suddenly discovered paradise. With an odd delight, she expelled her wounded and too vigilant soul and was transformed into a simple body without past or memory, but all the more eager and receptive. She tenderly caressed Eva's face, while the headless body moved vigorously on top of her. But here the headless body interrupted his movements and, in a voice that reminded her unpleasantly of Karel's, uttered unbelievably idiotic words: "I'm Bobby Fischer! I'm Bobby Fischer!" It was like being awakened from a dream. And just then, as she lay snuggled against Eva (as the awakening sleeper snuggles against his pillow to hide from the dim first light of day), Eva had asked her, "All right?" and she had consented with a sign, pressing her lips against Eva's. She had always loved her, but today for the first time sh loved her with all her senses, for herself, for her body, and for her skin, becoming intoxicated with this fleshly love as with a sudden revelation. Afterward, while they lay side by side on their stomachs, with their buttocks slightly raised, Marketa could feel on her skin that the infinitely efficient body was again fixing its eyes on hers and at any moment was going to start again making love to them. She tried to ignore the voice talking about seeing beautiful Mrs. Nora, tried simply to be a body hearing nothing while lying pressed between a very soft-skinned girlfriend and some headless man.

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors - values, standards, my own limitations as an observer - make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of things doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I'm very good at sensing others' true feelings." But any number of times I've seen people who say they're easily hurt or hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are taken in by the most transparent flattery. It's enough to make me ask the question: how well do really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am. These are the kind of ideas I had running through my head when I was a teenager. Like a master builder stretches taut his string and lays one brick after another, I constructed this viewpoint - or philosophy of life, to put a bigger spin on it. Logic and speculation played a part in formulating this viewpoint, but for the most part it was based on my own experiences. And speaking of experience, a number of painful episodes taught me that getting this viewpoint of mine across to other people wasn't the easiest thing in the world. The upshot of all this is that when I was young I began to draw an invisible boundary between myself and other people. No matter who I was dealing with, I maintained a set distance, carefully monitoring the person's attitude so that they wouldn't get any closer. I didn't easily swallow what other people told me. My only passions were books and music. As you might guess, I led a lonely life.

Before the troops left Rome, the consul Varro made a number of extremely arrogant speeches. The nobles, he complained, were directly responsible for the war on Italian soil, and it would continue to prey upon the country's vitals if there were any more commanders on the Fabian model. He himself, on the contrary, would bring it to an end on the day he first caught sight of the enemy. His colleague Paullus spoke only once before the army marched, and in words which though true were hardly popular. His only harsh criticism of Varro was to express his surprise about how any army commander, while still at Rome, in his civilian clothes, could possibly know what his task on the field of battle would be, before he had become acquainted either with his own troops or the enemy's or had any idea of the lie and nature of the country where he was to operate--or how he could prophesy exactly when a pitched battle would occur. As for himself, he refused to recommend any sort of policy prematurely; for policy was moulded by circumstance, not circumstance by policy. . . . [T]o strengthen [Paullus'] determination Fabius (we are told) spoke to him at his departure in the following words. 'If, Lucius Aemilius, you were like your colleague, or if--which I should much prefer--you had a colleague like yourself, anything I could now say would be superfluous. Two good consuls would serve the country well in virtue of their own sense of honour, without any words from me; and two bad consuls would not accept my advice, nor even listen to me. But as things are, I know your colleague's qualities and I know your own, so it is to you alone I address myself, understanding as I do that all your courage and patriotism will be in vain, if our country must limp on one sound leg and one lame one. With the two of you equal in command, bad counsels will be backed by the same legal authority as good ones; for you are wrong, Paullus, if you think to find less opposition from Varro than from Hannibal. Hannibal is your enemy, Varro your rival, but I hardly know which will prove the more hostile to your designs; with the former you will be contending only on the field of battle, but with the latter everywhere and always. . . . [I]t is not the enemy who will make it difficult and dangerous for you to tread, but your fellow-countrymen. Your own men will want precisely what the enemy wants; the wishes of Varro, the Roman consul, will play straight into the hands of Hannibal, commander-in-chief of the Carthaginian armies. You will have two generals against you; but you will stand firm against both, if you can steel yourself to ignore the tongues of men who will defame you--if you remain unmoved by the empty glory your colleague seeks and the false infamy he tries to bring upon yourself. . . . Never mind if they call your caution timidity, your wisdom sloth, your generalship weakness; it is better that a wise enemy should fear you than that foolish friends should praise. Hannibal will despise a reckless antagonist, but he will fear a cautious one. Not that I wish you to do nothing--all I want is that your actions should be guided by a reasoned policy, all risks avoided; that the conduct of the war should be controlled by you at all times; that you should neither lay aside your sword nor relax your vigilance but seize the opportunity that offers, while never giving the enemy a chance to take you at a disadvantage. Go slowly, and all will be clear and sure. Haste is always improvident and blind.

There is no need to be worried by facetious people who try to make the Christian hope of 'Heaven' ridiculous by saying they do not want 'to spend eternity playing harps.' The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

There’s more mystical nonsense written about the process of writing than almost anything. Inspiration, genius, “the muse.” So I want to lay out one huge, comforting, wonderful fact: the more you write, the better you get at it. Writing is like a forehand or driving a car or playing guitar. Practice makes you better. That’s not to say inspiration and genius don’t exist. Not everyone can become Tolstoy through hard work. What it means is that, wherever you start, you can improve. And the way to do it is to write a lot. I mentioned at the start of this piece that I’ve published eight books. When I flip through the first one now, I can’t believe it ever made it onto shelves. I see so many flaws and problems in it that I’m amazed. The reason is that I’ve written hundreds of thousands of words between since then. As long as you produce a little something every day, every week, in time, invisibly, you’ll get better. Trailing behind every successful writer are a million words that never saw the light of day. Sometimes it takes five million words. The most important piece of writing advice anyone can give or get is simple, and therefore can seem uninteresting, but it’s true: just keep writing.

The profilers’ plan to coax me out of the woods resembled a comedy skit. During their search of my Cane Creek trailer, the feds had found dozens of books on the Civil War. And interviews with my friends confirmed that I was a bona fide Civil War buff. The profilers looked at all this Civil War “stimuli” and concluded that my hiding in the mountains was a form of role-playing. Starring in my own Civil War fantasy, I was a lone rebel fighting for the Lost Cause, and the task force was a Yankee army out to capture me. To talk On August 16, the task force pulled out of the woods while Bo and his rebels went in. They had to look the part, so the FBI profilers dressed them in white hats with the word “REBEL” stenciled in red letters across the front; and around their neck each rebel wore a Confederate flag bandanna.me into surrendering, they needed some of my rebel comrades to convince me that the war was over and it was time to lay down my arms. Colonel Gritz and his crew were assigned the role of my rebel comrades. They were there to “rescue” me from the Yankee horde. Bo’s band of rebels pitched camp down in Tusquitee, north of the town of Hayesville. Beginning at Bob Allison Campground – the place where I’d abandoned Nordmann’s truck – they worked their way west into the Tusquitee Mountains. They walked the trails, blowing whistles and yelling “Eric, we’re here with Bo Gritz to save you.” They searched for a week. I lost it when I heard on the radio that the profilers had dressed Gritz’s clowns in “REBEL” hats and Confederate flag bandannas. I laughed so hard I think I broke a rib.

Every place held every memory of what it had once been. A plain that had been the bottom of a lake, the floor of a shallow sea, the lightless depths of a vast ocean. A hill that had been the peak of a young mountain, one of a chain of islands, the jagged fang of the earth buried in glacial ice. Dust that had been plants, sand that had been stone, stains that had been bone and flesh. Most memories, Kalyth understood, remain hidden, unseen and beneath the regard of flickering life. Yet, once the eyes were awakened, every memory was then unveiled, a fragment here, a hint there, a host of truths whispering of eternity. Such knowledge could crush a soul with its immensity, or drown it beneath a deluge of unbearable futility. As soon as the distinction was made, that separation of self from all the rest, from the entire world beyond-its ceaseless measure of time, its whimsical game with change played out in slow siege and in sudden catastrophe-then the self became an orphan, bereft all security, and face to face with a world now become at best a stranger, at worst an implacable, heartless foe. In arrogance we orphan ourselves, and then rail at the awful solitude we find on the road to death But how could one step back into the world? How could one learn to swim such currents? In self-proclamation, the soul decided what it was that lay within in opposition to all that lay beyond. Inside, outside, familiar, strange, that which is possessed, that which is coveted, all that is within grasp and all that is forever beyond reach. The distinction was a deep, vicious cut of a knife, severing tendons and muscles, arteries and nerves.

Summer spirit, now she closes book’s end, Days of youth spent, carefree with friends. Kari plays now to that what she does not wish, Lost summers days and angelic youth a’ missed. Seasons do change and children grow up, Passing through lives, life never stops. Endless years, bleak they the mind, Adventures of youth, throttle in time. Desires entwine, one grows old, Love loses her grasp, love slips from her hold. Bygone dreams, sleep they soundly by, Hopes for another child, not her soul-self I. Grasped for never, dreams never learn to fly (Within one’s dungeon, the darkest place to die). And Winter’s chill, lays she to rest, Dreams unobtained, fallen in the quest. Kari knew she was but a dream, solo in its flight, Ne’er taking wing again to caress innocence’s light. And to live and live as she once is and now, Stands she forever, stranded on time’s fallowed ground. The love she lost she can never now have, Graspless eternity plucked burning from her hands. Love forsaken, the summer, silent and high, Tears shed for what was once and not now, I. Dreamless hopes far long spent, Lie shallow within, deep strength relents. A hollow traverse of endless life, Lives she the knowing of eternalness light. Aye, silent dreams slip they the day’s long night, To tell of loves once beholden now lost in her sight. In love’s abandonment, Kari, spills she away, To dream upon those clouds again on some somber, summer day. Thus, before evening rusts corrode the golden days, Before innocence is raped and youth spirited away, Before night blossoms forth, and day forgets day, Summer’s love requests of us that we all do stay– To hear a tale one has long since heard before, To tell our souls twice over now and forevermore– Graves are full of those who never lived but could, Heaven and Hell are packed with those who knew they should, And eternity, relentless eternity, brims with those that would.

Just above Tommy’s face were the Maiden and the Troll, two of his oldest wall people. The troll lived in a cave deep in the woods. He was big (Tommy knew the troll was even bigger than his daddy, and if the troll told his daddy to sit down and shut up, he would in a second), and he looked scary, with his little eyes and crooked teeth like fangs, but he had a secret. The secret was that he wasn’t scary at all. He liked to read, and play chess by mail with a gnome from over by the closet wall, and he never killed anything. The troll was a good troll, but everyone judged him by his looks. And that, Tommy knew, was a mean thing to do, though everyone did it. The maiden was very beautiful. Even more beautiful than Tommy’s mommy. She had long blonde hair that fell in heavy curls to her waist, and big blue eyes, and she always smiled even though her family was poor. She came into the woods near the troll’s cave to get water from a spring, for her family. The spring bubbled out of Tommy’s wall right next to where his hand lay when he was asleep. Sometimes she only came and filled her jug and left. But other times she would sit awhile, and sing songs of love lost, and sailing ships, and the kings and queens of Elfland. And the troll, so hideous and so kind, would listen to her soft voice from the shadows just inside the entrance of his cave, which sat just below the shelf where Tommy kept his favorite toys and books. Tommy felt bad for the troll. He loved the maiden who came to his spring, but she would never love him. He knew from listening to his parents and the stuff they watched on television when he was supposed to be asleep that beautiful people didn’t love ugly people. Ugly people were either to laugh at or to be frightened of. That was how the whole world worked. Tommy rolled over on his side, just a small seven year old boy in tan cargo shorts and a plain white T-shirt. He let his eyes drift over the bedroom wall, which was lumpy in some places and just gone in others. There was a part of the wall down near the floor where he could see the yellow light of the naked bulb down in the basement, and sometimes he wondered what might live down there. Nothing good, of that he was sure.

Dr. Sherman VanMeter has made a career of unpacking the densest areas of scientific endeavor in accessible—if not polite—terms. You’ve written books on everything from astrophysics to zoology. How are you able to achieve expertise in so many disparate fields? There’s a perception that scientific disciplines are separate countries, when in fact science is a universal passport. It’s about exploring and thinking critically, not memorization. A question mark, not a period. Can you give me an example? Sure. Kids learn about the solar system by memorizing the names of planets. That’s a period. It’s also scientifically useless, because names have no value. The question mark would be to say instead, “There are hundreds of thousands of sizable bodies orbiting the sun. Which ones are exceptional? What makes them so? Are there similarities? What do they reveal?” But how do you teach a child to grasp that complexity? You teach them to grasp the style of thinking. There are no answers, only questions that shape your understanding, and which in turn reveal more questions. Sounds more like mysticism than science. How do you draw the line? That’s where the critical thinking comes in. I can see how that applies to the categorization of solar objects. But what about more abstract questions? It works there too. Take love, for example. Artists would tell you that love is a mysterious force. Priests claim it’s a manifestation of the divine. Biochemists, on the other hand, will tell you that love is a feedback loop of dopamine, testosterone, phenylethylamine, norepinephrine, and feel-my-pee-pee. The difference is, we can show our work. So you’re not a romantic, then? We’re who we are as a species because of evolution. And at the essence, evolution is the steady production of increasingly efficient killing machines. Isn’t it more accurate to say “surviving machines”? The two go hand in hand. But the killing is the prime mover; without that, the surviving doesn’t come into play. Kind of a cold way to look at the world, isn’t it? No, it’s actually an optimistic one. There’s a quote I love from the anthropologist Robert Ardrey: “We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted to battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen.” You used that as the epigraph to your new book, God Is an Abnorm. But I noticed you left out the last line, “We are known among the stars by our poems, not our corpses.” Why? That’s where Ardrey’s poetic license gets the better of his science, which is a perilous mistake. We aren’t “known among the stars” at all. The sun isn’t pondering human nature, the galaxy isn’t sitting in judgment. The universe doesn’t care about us. We’ve evolved into what we are because humanity’s current model survived and previous iterations didn’t. Simple as that. Why is a little artistic enthusiasm a perilous mistake? Because artists are more dangerous than murderers. The most prolific serial killer might have dozens of victims, but poets can lay low entire generations.

Here in the sixteenth century one of the most unusual and talented women in England’s history – Mary Sidney, Countess of Pembroke – maintained an alchemical laboratory, assisted by Sir Walter Raleigh’s half-brother Adrian Gilbert, who also created an elaborate magical garden in the grounds, based on sacred geometry. And although the garden and house have undergone many changes since their time, through fire and restoration, it still seems as if its former inhabitants were here only yesterday. Mary Sidney is remarkable for being one of the few women whose names appear in the history of alchemy in England and, indeed, the world. She was also the first English woman to achieve a significant literary reputation. Some even believe that it was her genius that lay behind the plays of William Shakespeare, which they claim she either wrote herself or collaborated upon with the group of literary luminaries that she patronised.

It was not the first time that his duty had been to comfort, as best he could, one of the broken things his brother’s imperious speed had cast aside and forgotten. He made no attempt to analyze the situation or to state it in exact terms; but he felt Katharine Gaylord’s need for him, and he accepted it as a commission from his brother to help this woman to die. Day by day he felt her demands on him grow more imperious, her need for him grow more acute and positive; and day by day he felt that in his peculiar relation to her his own individuality played a smaller and smaller part. His power to minister to her comfort, he saw, lay solely in his link with his brother’s life. He understood all that his physical resemblance meant to her. He knew that she sat by him always watching for some common trick of gesture, some familiar play of expression, some illusion of light and shadow, in which he should seem wholly Adriance. He knew that she lived upon this and that her disease fed upon it; that it sent shudders of remembrance through her and that in the exhaustion which followed this turmoil of her dying senses, she slept deep and sweet and dreamed of youth and art and days in a certain old Florentine garden, and not of bitterness and death.

herself look perfect. Her long dark hair will be pulled into two tidy plaits and she will have tried on almost everything in her wardrobe before putting on her favourite floaty dress. I help Mum by laying the table. I get out the cereal and the milk and make everyone a glass of orange juice. Mum is in a rush as she needs to go to work soon. But Moz, Alice and I have all the time in the world. It’s the school holidays and the sun is shining. I have been up for hours. But unlike my sister, I haven't spent my time making myself look fancy. I'm wearing denim shorts and a faded t-shirt, my most comfy clothes. I've tied back my curly blond hair into a ponytail as best I can, but I know it’s still messy. Oh well. No, I've been up for hours using the computer, chatting to some of my friends on Facebook. I've got Facebook friends from all over the world. Whatever time of day it is there's always someone about for a chat. I can happily spend all day watching videos or playing games with my mates. Moz and Alice don't understand at all. That’s why my Facebook friends are so great. They really get me.

This book is the culmination of, the capstone to Robert Ornstein’s brilliant, ground-breaking half century of research into the dimensions, capacities, and purposes of human consciousness. Deeply thoughtful and wide-ranging in scope, his final book goes well beyond the “left-brain, right-brain” work for which he originally became famous, this time bringing the often-confusing and divisive subject of spirituality into a clear and useful 21st-century focus, presenting it as a matter of perception, not belief. Using rigorous, rational, scientific analysis – always his greatest strength – Ornstein shows that the spiritual impulse is innate, a human ability that from the Ice Age forward has been essential to problem solving. As a final part of his legacy, he lays out how this capacity to reach beyond the everyday can, cleared of cobwebs and seen afresh, play a role and be part of preparing humanity to confront today’s staggering global problems. A rewarding and fascinating book. — Tony Hiss, author of Rescuing the Planet: Protecting Half the Land to Heal the Earth

To repeat, all poker starts as a struggle for the ante. This struggle for the antes is what determines all future action. It is a struggle that increases and builds up, but it should never be forgotten that the initial struggle for the antes is what started the war. Players who do forget this, no matter how well they play otherwise, frequently find themselves in trouble. Most often they play too many hands in relation to the size of the ante; sometimes they play too few. The best way to evaluate the size of the ante is to think about it in terms of pot odds and expectation. Let’s say you sit down in an eight-handed $10-$20 game, and everybody antes $1. That creates an $8 pot. Starting with that $8, you should play your hand in terms of the odds you’re getting for each bet in relation to your expectation of winning. If you bet $10, you are laying $10 to win $8. If someone calls you, he is getting $18-to-$10. The fact that $1 or one-eighth of that ante money was originally yours is of no consequence. In truth, it is no longer yours. The moment you place your $1 ante in the pot, it belongs to the pot, not to you, and eventually to the winner of the hand. It is a common fallacy for players to think in terms of the money they have already put in the pot. They make a bad call because they called one or two bets on earlier rounds. However, it is absolutely irrelevant whether you put the money in there or someone else did. It is the total amount, no part of which belongs to you any longer, that should determine how you play your hand. In home games the dealer often antes for everybody. Some players play much more loosely when they are dealing, thinking that the ante is somehow theirs. But to play differently just because you anted, rather than someone else, is absurd. It is the same amount of money out there, no matter from whose stack of chips it came. On the other hand, when you have the blind in hold ’em, for example, you can and should play a little looser, not because that blind is yours, but because you’re getting better pot odds.

The book Natalie had given her lay on the coffee table, and I skimmed some of the passages, agreeing with Amy’s assessment that it seemed improbable at best. But damn, if my eyes didn’t bulge out of my head when I stumbled upon one of the racier scenes. I spent half an hour trying to picture if the position described was even logistically possible. No wonder women flocked to these books with cutesy cartoon covers—this shit was hot, and they could read it in public, with men being none the wiser.

The creature we meet today is the last of its kind. Its species played a huge role in the mythologies of thousands of civilizations. They were known as fates, hunted and slaughtered because beings across all realms feared their powers. My father made a home for the last one here. I am the only one who has access to this place because I had no use for him and no reason to harm him. As you recall from my memories, my attention lay elsewhere.” I spun in a slow circle as I tried to process the alien landscape. “Roccurrem, I seek your counsel.

Feature in God’s team of trainees and you will play for the winning team! This is your heritage that you will lay hands on the trophy!

She changed her position, contemplated a row od apple shrubs that she had put in last autumn at the bottom of the terrace, and slowly filled up again with comfortable thoughts. Things wee coming to a head. Her inner life, her restless inner life, was still and lay asleep. She was at liberty now to think of material things; positions of wardrobes and chests-of-drawers; lists of books to be piled by her bed; dressing jackets; white wooly vests and pants. It was not often she could thus play dolls and doll-houses without feeling she ought to be doing something else; that life was short; that she was threatened by the melancholy of life itself whose vapors sometimes reached her with overpowering strength. from her present sea-deep content two things were absent now - the horror of the ultimate departure, and the need to express herself before the end. The baby seemed to swim and strike like a dolphin. "it is a mystery," she said. "Women bearing children, bulbs becoming hyacinths, acorns … sheep… lambs. Feet that never touched the earth… I shall become two people." She stared between the apple trees; hypnotized, drugged by that sea-deep peace; wonder drifting weedily in and out. She was a vase, a container, a plot oak for a gnome to live in, a split oak, a hollow elm.

way that you see me? Broken heart that won’t lay down Is this the way you would be free? To take your life without a sound Is this the way that it should be? It’s not the same without you around…oh no-o-o…   It gave me frigging goose bumps. Seriously, I thought I might start crying like I had in college, so I pinched my arm hard enough to leave a bruise. Hearing two extremely talented people—world class musicians—perform my creation to such perfection with such inspired passion… well, frankly, it made me much more grateful to be alive. Not to mention it crushed any remaining doubts I had as far as holding our own against the very best talent the non-country music industry has to offer. Our rehearsal was one of the best we’ve ever had. High energy and inspired play… I thought we better have a frigging shower in our dressing rooms at our upcoming gig if we performed anywhere near this level. We were sweating like pigs, man, but someone told me once that pigs don’t sweat. At least not like us.

and at as after an add act adjective answer ask am animal ant ax Africa Medial that can had back last has than man hand plant began stand black happen fast apple /a/ LONG A, OPEN SYLLABLE RULE Initial able acre agent apron Asia apex April Medial paper lady baby radio crazy labor lazy flavor tomato navy station basic label equator relation vapor enable volcano vibration basis hazy potato ladle vacation tablecloth table /a/ LONG A, FINAL E RULE Initial ate age ache ale ape ace Medial make made face same came state late tale place name wave space gave base plane game shape baseball spaceship racetrack shapeless cake /a/ LONG A, AI DIGRAPH Initial aim aid ailment ail Medial rain train wait tail chain jail mail pain sail strait afraid brain claim detail explain fail gain main obtain paid remain wait plain laid faint grain rail nail See also List 7, Suggested Phonics Teaching Order; List 8, Phonics Research Basis. // LONG A, AY DIGRAPH Medial always mayor layer maybe gayly haystack wayside payment rayon jaywalk player daylight Final day say away play may today pay gray bay stay birthday highway repay anyway way pray lay gay hay crayon

King Yorandt to Kristina in book three of Fracture the Secret Enemy Saga~Secrets release date: Summer 2014 Even the master does not play perfectly. He can only hope to make fewer mistakes than his opponent, and that in the end, he is the victor. Sajah (chess) is a ruthless game where the pieces are all pawns and the Queen is the true killer. She spares no one to protect the king. The king however, is ruled by all of the pieces that lay before him, even his opponent. Every move is a decision that can change the whole board, and the endgame.

. . . none of us are as sophisticated in these matters as you think. You know I always feel, with every new person, as if I am starting anew. These things are instinctive. What you need to learn is to lay aside your inhibitions, to go back to your childhood when you played marbles or whatever with boys and never thought anything of it.

He tosses my book bag over his shoulder and pulls me toward the door. This time, he has two helmets, and he helps me fasten mine. I love that he tries to take such care of me. My apartment or yours? I ask. He brushes the hair back that’s hanging around my face, pushing it under the helmet. I don’t want you going back to your apartment while Trip’s there. He looks closely watching my face. That okay with you? Fine, I say. I kind of like it when you go all Neanderthal. I grin, and he straddles the bike. I climb on behind him and wrap my hands around his waist. He hisses playfully when I lift his shirt and lay my hands against the tender skin of his belly. We zoom through the streets and into the parking deck beneath his building. He bends at the waist and tosses me over his shoulder. “You haven’t seen Neanderthal yet,” he warns as he carries me up the steps.

He takes my hand and pulls me out of the room. Paul is in the lazy chair with Hayley in his lap, reading a book, and Sam and Pete are on one of the sofas. Matt is alone on the other, so I sit down beside him and lean into his shoulder. He reaches up to tousle my hair and smiles at me. “I’m glad you’re back, kid,” he says. I lean more heavily into him, and he lifts his arm to the back of the sofa so I can nestle into his side. I breathe him in. He’s so much softer than Logan. But the cancer took its toll. He’s lost weight, and he has dark shadows beneath his eyes. “You sure you’re okay?” I whisper to him. He looks down at me and tweaks my nose as Logan pulls my feet into his lap. I lay my head on Matt’s thigh and he leans down to whisper to me. “Quit worrying about me and enjoy being back.” His hand strokes absently down the length of my hair as someone presses “play” to start the movie. I love this gentle giant. The movie starts, and it’s not a thriller or a car chase. There’s no shooting. It’s a love story. My eyes well up with tears, and I scrub them on Matt’s leg. “There’s no place like home,” I say quietly.

All right, Lord Ashton. If I win the trick, you will ask Miss Sinclair for the first dance. If you win, I will grant you my first dance when I am able to walk again. However long it takes.” He met her gaze with a sudden intensity that made her stomach flutter with nerves. “I accept the wager.” Very deliberately, she chose his weakest suit and laid down the king of hearts. She never took her eyes off him, but let him see that she had taken this quite seriously. He was not going to defeat her. “Oh dear,” Lady Penford said, following suit with a queen. “Lily, can you help?” But Lily only discarded a ten. “I’m sorry, but someone dealt me a rubbish hand once again.” She glared at Rose. All eyes turned to Iain. He withdrew a single card from his hand but did not lay it down. For a moment, they all waited for him to make his move. He didn’t smile at all, but locked his green eyes upon hers. She couldn’t read his expression, for he offered neither defeat nor triumph. “Go on, Ashton,” she urged. “If you have a card to play, then set it down. Admit your defeat.” With that, he turned over his card and laid down the ace of hearts.

A true revolution of values will soon cause us to question the fairness and justice of many of our past and present policies. On the one hand, we are called to play the Good Samaritan on life’s roadside; but that will be only an initial act. One day we must come to see that the whole Jericho road must be transformed so that men and women will not be constantly beaten and robbed as they make their journey on life’s highway. True compassion is more than flinging a coin to a beggar; it is not haphazard and superficial. It comes to see that an edifice which produces beggars needs restructuring. A true revolution of values will soon look uneasily on the glaring contrast of poverty and wealth . . . and say: “This is not just.” . . . A true revolution of values will lay hands on the world order and say of war: “This way of settling differences is not just.” This business of burning human beings with napalm, of filling our nation’s homes with orphans and widows, of injecting poisonous drugs of hate into veins of people normally humane, of sending men home from dark and bloody battlefields physically handicapped and psychologically deranged, cannot be reconciled with wisdom, justice, and love. A nation that continues year after year to spend more money on military defense than on programs of spiritual uplift is approaching spiritual death.

For the name Barclay, you could use bar clay or bark lay; for Smolenski, a small lens (camera) skiing; for Caruthers, a car with udders; for Krakowitz, cracker wits; for Frankesni, frank (hot dog) has knee; for Esposito, expose a toe; for Dalrymple, doll rumple; for Kolodny, colored knee; for Androfkavitz, Ann drop car witch; for Giordano, jawed on O; for Virostek, virile stick; and so on.

Proliferation of artistic achievement on this scale is rare enough, most writers and artists tending to concentrate on what they consider, not always correctly, to be their strongest outlet. Peake, on the other hand, put the same energy and technical expertise into whatever he did. It was as if the huge creative fire burning in him touched everything he attempted, so that even in the slightest and lightest of his work there is something of that inner intensity... Perhaps Henri Bergson’s élan vital, the impulse of life, lay at the basis of Mervyn Peake’s work. He could call, at any time, upon the creativity he needed. It did not matter whether he attempted a book, a play, a painting, a poem or an illustration. In each and all of them, there was the same manifestation of inner luminous strength of life. It is this fact that gives his work, whether light or serious, its special feel. We are constantly in touch, through him, with something far greater than ourselves.

Beep, Beep, Buzz, Buzz My day begins with Jenny aka (Jenna) Talya- laying on the horn in her black 2003 ford focus with the paint peeling on the hood. And reading a text from my bestie Jenny saying- ‘Don’t forget b*tches, it's love-o-grams day!’ My mom yells out the door every day not to do that, yet it goes in one ear and out the other with Jenny. Jenny does what Jenny wants to do. Yet that horn has a way of like going through you… you know. Especially at five- fifty-five every single morning. ‘Hurry the hell up, I am not getting any younger over here!’ She yells out the window of the SUV. And my mom yells about that too, ‘stop cursing!’ Then I say something like ‘Keep your pants on… I am coming! I am ‘Cumming!’’ As the nosey neighbor lady peps- out one of the slats of their window blind at us. It always seems to be I am running to get where I am going, even from house door to car door. Most of the time passing up that one book up on the floor, which you need for class on the way out without thinking, in such a rush. I didn't even put on Ray's letterman jacket he gave me to wear, I balled it up in my arms. Just like my purse and backpack zippers were somewhat open, that was just a horn in my one right shoulder. Right before that my darling pain in the ass little sister Kellie, who is ten years old. She grabs one of my bookable handles and tugs me back off my footing. WHAT- is it! I spun around looking like a demon child just snarling at her. She said crying. I just wanted to hug you, Karly. And I said- forget it… I am late now, and can’t you see I am texting my ‘BF! -Boyfriend’ So stop wasting my time little girl. (No- I know I am not a very nice person. I know that now! Yet I did think! I thought I was going to see her letter that night. I would give anything to have going back and hugged her that last time… that day.) It seemed that I was always too busy to spend any time with her. As a teen girl, like I said. My time was mostly spent on boys- well mostly Ray, talking and getting together, and partying to be popular. I thought that was what living a good life was all about. It’s just as if she always picked the worst times to try to bother me. Um- I’m not perfect, and there is only some much time in the day to play, and she wanted to play all the time. Though, I can see her turning into a little me. I was the one she looked up to. Mom was certainly trying to get her some help for her impulsiveness; we all think she has ADHD or something for how clinging she is. She is mom and dad’s favorite though I feel that girl is not what I would call under-loved that’s for sure. Yet mom and dad don’t see anything wrong with her having all that energy, and to be like running around, sucking down the soda, and cramming down the junk food. She is picked on to like me; I was before I fell into Jenny's hand of friends. I hope she can do the same. All at the same time I hope she doesn’t, I don’t want to see her fall into the wrong as I did.

A group of Sphinxes plucked books off of the shelves and lay down in the grass, looking enraptured while Orion murmured to me that their kind could step right into the pages of a story. They didn’t just see it in their head, they lived every word, the whole thing playing out in their minds as if they were the main character, and that sounded pretty awesome. It must have been incredible to experience your favourite books first hand, to fall so deeply between the pages that it seemed as if those worlds really existed.

The party for those addicted to markets has been the “make it rain” free-money printing game run since 1971. They may call it “Quantitavive Easing”, (QE) or “monetary policy” or “Asset purchases by the Fed”, or any number of terms which cause 99% of humans to stop listening. I urge everyone to demand better from governments, professionals and public servants. To demand real “service” from those who claim to be in this role. Right now we are letting those addicted to money, play with “self” accountability, which is creating addicts and poverty at a faster rate than our western economies can create prosperity. “Asset purchases” means the Fed printing money, to give this money to banks in exchange for some of the banks bad assets that need to be purged. How wealthy would your family be if each losing investment could simply be taken off your hands…using borrowed money that the taxpayer must then repay? How poor would your neighbors be if they did not have this money pipeline working for them? The newly printed money for asset purchases, is backed by US Treasury IOU’s, or similar notes and borrowings, for which the public must now repay through income taxes…forever. Banks thus get billions in freshly created cash, while the US public gets the bad assets, or gets stuck with the bill to pay back the money created to purchase the bad assets. I could probably refine that description a bit, but for now I am going to let it lay here. Any corrections are welcomed with gratitude. Dousing the flames of the 2008 mortgage bubble disaster, using government money issued in this manner, was said to be needed to prevent complete financial system meltdown. A better choice would have been to let those with a gambling addiction, suffer the consequences of their addiction, like we demand of every addict in Downtown LA. But the Fed is the perfect tool for dumping bank gambling losses and bad assets upon the taxpayer, and to make taxpayers pay to give the banks a clean-money start each time. The only thing left to do for the recipients of some of those newly printed billions, is to “launder it”, to get

The space monsters aren't about to let us get away with this masturbatory industrialization much longer, they watch our TV shows, they even play our god damned video games, they know all about us and can snuff our already disarrayed civilization with but a whisper to their ultimate computer brain, MWOWM, the brooding computer of the Xists which we will have soon too, the computer so complex it is not a machine, it is a moss-like independent growth of circuits which it prints itself, sprawling through our homes in the form of nondescript white stones laying here and there, talking, very quietly overwhelming our every thought, word, and deed, YES the Xists will “give” it to us, we floundering human beings will fight nuclear wars with each other trying to decide whether to turn this unwholesome ‘mouth of a Trojan gift-horse’ ON or OFF, in the end we will leave it ON, and then by God we won't be able to do WITHOUT it.

What would you do with a fortune in gold?” Luzia considered. She couldn’t say anything of the things that entered her head. I would have my mother’s name etched in marble. I would find my father’s grace. I would buy a great deal of books, and buy myself a house to read them in, and erect a high wall outside of the house, so no one would bother me. I would hire an army to stand atop the walls and guard me from kings and inquisitors and men who tell other men to break fingers. And yet she couldn’t quite summon the correct servant’s answers she knew she should deploy: I would wish for a comfortable home, alms for the poor, masses to be said for me after my death. When she was with Santángel her mind leapt forward, eager to play, slipped free of the leash of humility she knew might keep her safe. So she spoke nonsense. “I would build a very large palace.” “Bigger than this?” “Oh yes. Twice as wide but only half as tall. And in it I would place a very large bed.” Again his brows rose and she hurried on before he could tell her not to speak of beds. “I would never leave it except to be rolled into steaming-hot baths.” “And to take your meals?” “No, I would make my cook lay cakes on my pillow.” “You would grow very fat.” “I certainly hope so.” Santángel laughed then, an odd croaking sound that he silenced quickly, afraid to draw attention. “You are quite mad,” he said. “One has to get through the day somehow.

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Another life awaited them. It was time to go. They would work out the specifics later. “Play it as it lays,” so to speak. 

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Jane waited until she had her sons’ full attention once again and gestured for Avery to speak. “Now, let’s get down to specifics, Mother. What do you expect us to do that will make him jealous?” Avery looked up at his mother with false wide-eyed innocence, the rogue wanted her to say it! He didn’t think she would be capable of laying out her scheme in explicit detail. He was quite mistaken. “Don’t give me that sweet-as-a-lamb look, child,” Jane warned. “The three of you have sinned enough to fill the second circle of hell all on your own, and leave no room for others. You will do what you do with any gentle born lady. Compliment her. Seduce her. Fuel the fire deep within her. Lure her into passion. But do nothing to worry me in a month’s time. Understood?” Had she been in a better mood she would have laughed at the flush of embarrassment on their faces. “What? You expect me to play ignorant of such things? I gave birth to five children, and I assure you that I did not do that all on my own. Your father played a significant role in bringing your miserable existences about. There’s that little book from India I believe you all own? The one with all the illustrations. Don’t pretend you don’t know it, because I’ve read it as well.” “Mother! For God’s sake!” Lawrence begged, cutting his mother off. Jane allowed a smile to curve her lips. “It isn’t as much fun when you are on the other end of unpleasant thoughts now, is it?” She clapped her hands together. “Now then, off to the ballroom. And remember, do what I charged you or you will beg for mercy, and I shall have none to give. I brought you into this world, and should you displease me, I shall happily remove you from it.” She made the threat in such a sweet tone that all three of her sons shuddered. -Lady Rochester, Avery, Lawrence, & Linus

But are challenge and love enough? Not quite. All great teachers teach students how to reach the high standards. Collins and Esquith didn’t hand their students a reading list and wish them bon voyage. Collins’s students read and discussed every line of Macbeth in class. Esquith spent hours planning what chapters they would read in class. “I know which child will handle the challenge of the most difficult paragraphs, and carefully plan a passage for the shy youngster … who will begin his journey as a good reader. Nothing is left to chance.… It takes enormous energy, but to be in a room with young minds who hang on every word of a classic book and beg for more if I stop makes all the planning worthwhile.” What are they teaching the students en route? To love learning. To eventually learn and think for themselves. And to work hard on the fundamentals. Esquith’s class often met before school, after school, and on school vacations to master the fundamentals of English and math, especially as the work got harder. His motto: “There are no shortcuts.” Collins echoes that idea as she tells her class, “There is no magic here. Mrs. Collins is no miracle worker. I do not walk on water, I do not part the sea. I just love children and work harder than a lot of people, and so will you.” DeLay expected a lot from her students, but she, too, guided them there. Most students are intimidated by the idea of talent, and it keeps them in a fixed mindset. But DeLay demystified talent. One student was sure he couldn’t play a piece as fast as Itzhak Perlman. So she didn’t let him see the metronome until he had achieved it. “I know so surely that if he had been handling that metronome, as he approached that number he would have said to himself, I can never do this as fast as Itzhak Perlman, and he would have stopped himself.” Another student was intimidated by the beautiful sound made by talented violinists. “We were working on my sound, and there was this one note I played, and Miss DeLay stopped me and said, ‘Now that is a beautiful sound.’ ” She then explained how every note has to have a beautiful beginning, middle, and end, leading into the next note. And he thought, “Wow! If I can do it there, I can do it everywhere.” Suddenly the beautiful sound of Perlman made sense and was not just an overwhelming concept. When students don’t know how to do something and others do, the gap seems unbridgeable. Some educators try to reassure their students that they’re just fine as they are. Growth-minded teachers tell students the truth and then give them the tools to close the gap. As Marva Collins said to a boy who was clowning around in class, “You are in sixth grade and your reading score is 1.1. I don’t hide your scores in a folder. I tell them to you so you know what you have to do. Now your clowning days are over.” Then they got down to work.

The instruments that I liked the most were the flautos and recorders, especially the lovely flauto in the box with blue velvet. It was so beautiful I had been shy about even touching it, but one day I worked up my courage and took it out of the cabinet. I placed the mouthpiece to my lips and blew. A loud ringing note came out, startling me so that I almost dropped the instrument. But I held on and tried again. As that second note died away, the white bear entered the room. I fought down the instinct to hide the flauto behind my back as though I were a naughty child caught playing with grown-up things. As he came closer I could read a sort of yearning in his eyes. He lay down on the rug near the cabinet and looked up expectantly, as he did in the weaving room when he was ready to hear a story. I shook my head. “I don’t know how to play,” I explained, my cheeks a little red. “Play,” he said. “I can’t.” But he just stared at me with those yearning eyes. So I tried. And though the tone of the instrument was lovely, my playing sounded like two birds of different pitch scolding each other. The white bear closed his eyes and flattened his ears against the sound. “Well, I warned you,” I said. Then he got up and crossed to a polished wooden chest, and, using a large paw, pushed the top up. I could see bundles of paper inside, some bound, some tied with ribbon. I knew what the papers were. “I cannot read music,” I said. The white bear sighed. Then he turned and left the room. After he’d gone I went to the chest and sat down beside it, taking out a bundle of the papers with music written on them. It became my new project, learning to read music. I was lucky to find a book in the chest that showed which note corresponded to which hole on the flauto. Occasionally the white bear would come into the music room and sit and listen while I practiced, which made me self-conscious. But he never stayed long. It was as if he could only take it so long, hearing the music he knew mangled beyond all recognizable shape.

She and Dan were on the patio, wrapped in blankets against the cool evening air. Sasha and I were at the dining room table playing Scrabble, and Peter lay on the floor reading comic books.

As soon as they entered the forest, Dina felt something stirring in her magic. Normally it lay dormant within her until she needed it for a spell. But now it was thrumming in her blood, reacting to this place. The trees were tall and thick, little sunlight made it to the forest floor, and the narrow pebbled path they walked along twisted out of sight ahead of them. "There's something here," she whispered to Immy. "Like magic?" "Yeah. Like, I don't know how to put it--- like this is an old and powerful place. Like the land is breathing." "Ooh, I'm going to write that phrase down for my next book," Immy said, pulling her phone out of her pocket. As Immy slowed down to make her note, Dina walked on, feeling the power of this ancient wood flooding through her. She felt as if she were walking into the mouth of a great, slumbering goddess. But it didn't scare her; it wasn't meant to. It was just nature, older than history, older than bone. The path curled around to the left, revealing a small cottage in the dappled light, dwarfed by the surrounding oaks. The lights were on inside, illuminating the ivy and wisteria vines that had twined themselves around the outer walls of the cottage. The windows were sashed in dark green wood, complete with window boxes filled with daisies. Daisies that Dina was sure shouldn't have been able to grow in such little light, but this wood seemed to play by its own rules.

A group of Sphinxes plucked books off of the shelves and lay down in the grass, looking enraptured while Orion murmured to me that their kind could step right into the pages of a story. They didn’t just see it in their head, they lived every word, the whole thing playing out in their minds as if they were the main character, and that sounded pretty awesome.

There are now a number of demands being made on teachers which challenge both your courage to be flexible and your courage to remain faithful to ideals which are good. I will try to deal with just two of these demands. The first one demands flexibility. It asks you to recognize that Negro children in this society—and white children also—are being taught biased, edited, and ultimately racist versions of American history and culture. It is not enough to pay lip service to the idea of racial harmony and equality. We must refuse any longer to accept the distorted view of our roots and our past in this country. As taught in our textbooks, this history reinforces in white children the notion that they are superior and the only creators of this country, and it reinforces in black children the notion that they are inferior and made no contributions. It may be true that most blacks came here as slaves, but the first of them were here as free men, and gave their lives in the struggle to win independence for this nation. They fought as well as any one else during the civil war; they played their part in the opening of the American West; they helped plan and lay out some of our major American cities; they developed the only indigenous form of American music; they made notable contributions to scientific research; they are to be found in the growth and development of the American musical and dramatic stage; and the best of their writing ranks with the best that has been done in America. This is by no means all, but then I am by no means an historian. In any case, the question is not whether they should have done more. The miracle is that in the circumstances of their history here they could have done so much. It is because of racism, it is because the dominant value judgments in this society are white, and it is because a consistently poor estimate has been placed on the quality and extent of Negro effort—it is for all these reasons that the true story of the Negro in America is not told in our history books. And it is for all these reasons that historians continue to tell lies, continue to avert their eyes, and continue to retard the progress of civility, decency, and human dignity in our society. It is time, then, to give up that old rigid stance. For, however comforting it may be to some, it is a delusion, and it is a violation of the right of all young minds to know the truth and to be free. Organized teachers can play a major role in the effort to liberate American history books. They can join those who are making an effort to bring truth into the schools through a total revision of the textbooks. Where good texts are not in existence, teachers must bring in supplementary material to the classes. And they themselves can make studies of Negro history and culture.

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