Plywood Quotes

The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real ... for a moment at least ... that long magic moment before we wake. Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smokestacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest Airlines. Why do our dreams become so much smaller when they finally come true? We read fantasy to find the colors again, I think. To taste strong spices and hear the songs the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever somewhere south of Oz and north of Shangri-La. They can keep their heaven. When I die, I'd sooner go to middle Earth.

Ronan didn't need physics. He could intimidate even a piece of plywood into doing what he wanted.

When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.

Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end.

Hypocrisy is the resin that holds the plywood of society together.

You swallow hard when you discover that the old coffee shop is now a chain pharmacy, that the place where you first kissed so-and-so is now a discount electronics retailer, that where you bought this very jacket is now rubble behind a blue plywood fence and a future office building. Damage has been done to your city. You say, ''It happened overnight.'' But of course it didn't. Your pizza parlor, his shoeshine stand, her hat store: when they were here, we neglected them. For all you know, the place closed down moments after the last time you walked out the door. (Ten months ago? Six years? Fifteen? You can't remember, can you?) And there have been five stores in that spot before the travel agency. Five different neighborhoods coming and going between then and now, other people's other cities. Or 15, 25, 100 neighborhoods. Thousands of people pass that storefront every day, each one haunting the streets of his or her own New York, not one of them seeing the same thing.

Tomber amoureux. To fall in love. Does it occur suddenly or gradually? If gradually, when is the moment “already”? I would fall in love with a monkey made of rags. With a plywood squirrel. With a botanical atlas. With an oriole. With a ferret. With a marten in a picture. With the forest one sees to the right when riding in a cart to Jaszuny. With a poem by a little-known poet. With human beings whose names still move me. And always the object of love was enveloped in erotic fantasy or was submitted, as in Stendhal, to a “cristallisation,” so it is frightful to think of that object as it was, naked among the naked things, and of the fairy tales about it one invents. Yes, I was often in love with something or someone. Yet falling in love is not the same as being able to love. That is something different.

The reason is that you eat too many foods that are high in "calories," which are little units that measure how good a particular food tastes. Fudge, for example, has a great many calories, whereas celery, which is not really a food at all but a member of the plywood family, provided by Mother Nature so that mankind would have a way to get onion dip into his mouth at parties, has none.

There is something about a bathroom that feels like a fortress. A closed bathroom door may only be about two inches of plywood, but it feels like an iron bar.

World needs more angels, even plywood ones.

Television won't be able to hold on to any market it captures after the first six months. People will soon get tired of staring at a plywood box every night.

Now keep in mind that the typical Greek myth goes something like this: innocent shepherd boy is minding his own business, an overflying god spies him and gets a hard-on, swoops down and rapes him silly; while the victim is still staggering around in a daze, that god’s wife or lover, in a jealous rage, turns him–the helpless, innocent victim, that is–into let’s say an immortal turtle and e.g. power-staples him to a sheet of plywood with a dish of turtle food just out of his reach and leaves him out in the sun forever to be repeatedly disemboweled by army ants and stung by hornets or something. So if Arachne had dissed anyone else in the Pantheon, she would have been just a smoking hole in the ground before she knew what hit her.

below the glass would be the weak spot. Plywood, probably, maybe three-eighths thick, painted, retained in the frame by quarter-round moldings. Reacher was wearing shoes he had bought in the London airport two deployments ago, stout British things with welts and toecaps as hard as steel.

Opening night is in a week. Already announced to the papers, already sent out in the newsletter in fancy, glossy, full-color glory. Which means I have two days, max, to finish the framing—easily a week’s worth of work—and then four days for drilling the star maps I’ve already marked on the plywood, painting, wiring, installing, and finessing.Leaving me only one day—the day of the evening gala—to clean and get the actual exhibits set up. It’s impossible. I will make it happen or die trying. I don’t realize I’ve said that last part aloud until I notice Michelle’s horrified face.

Most folks got Id and Ego living on different floors in their head’s house, in different rooms, and they’ve locked all the doors between them, and nailed sheets of plywood over that, because they think they’re, like, sworn enemies that can’t hang together. Ro thought the whole subconscious/conscious issue had something to do with why I am the way I am. She said I have the neurological condition synesthesia out the ass, with all kinds of cross regions of my brain talking to each other. Old witch was always psychoanalyzing me (as in she was the psycho and I was being analyzed). She said my Id and Ego are best buds, they don’t just live on the same floor, they share a bed. I’m cool with that. Frees up space for other stuff. I take off, tune out, and do what I do best. Kill.

At the center, on the lawn of the courthouse, sat a log manger with a life-size nativity scene cut out of plywood. If an civil libertarian had complained about the nativity being on public property, he would have been hunted down like Santa's reindeer during bow season.

You are quarter ghost on your mother’s side. Your heart is a flayed peach in a bone box. Your hair comes away in clumps like cheap fabric wet. A reflecting pool gathers around your altar of plywood sub flooring and split wooden slats. You are rag doll prone. You are contort, angle and arc. Here you rot. Here you are a greening abdomen, slipping skin, flesh fly, carrion beetles. This is where bullets take shelter, where scythes find their function, breath loses its place on the page. This is where the page is torn out of every book before chapter’s close, this is slippage, this is a shroud of neglect pulled over the body, this is your chance to escape. Little wraith, bend light around your skin until it colors you clear, disappear like silica in a kiln, become glass and glass beads, become the staggered whir of an exhaust fan: something only noticed when gone. Become an origami swan. Fold yourself smaller than ever before. Become less. More in some ways but less in the way a famine is less. They will forgive you for not being satisfied with fitting in their hands. They will forgive you for dying to be a bird diminutive enough to fit in a mouth and not be crushed.

Did you ever see the Truman Show?...Well sometimes I think I’m Truman. I think the whole world is watching me. My life has been created by someone else’s expectations. Everything is a façade. The walls are plywood and the furniture is papier-mâché. And then I think that if I could just run fast enough, I’d get around the next corner and find the back lot of the film set. But I can never run fast enough. By the time I arrive, they’ve built another street… and another.

She chuckled and then said seriously, "Don't sweat it. I can only guess at what this must feel like, but you gotta just steel your resolve, you know? Batten down your hatches, sandbag your perimeters, plywood your windows and what not. Where are you going with this? I don't know anymore. Somehow, my pep talk became storm prep...

Television won't be able to hold on to any market it captured after the first six months. People will soon get tired of staring at a plywood box every night.

You shouldn't believe anything you hear standing outside a plywood window. Everyone knows plywood distorts vowels...words...sayings." -Ariel

It apparently took a lot of layers of Brown & Root management and administration to turn a $14 sheet of plywood into an $86 sheet of plywood

their feet banging the plywood floor until the music of the battery-operated radio died, sounding as if it were singing to

I pity the fool who messes with my plywood shutters,

That was true, Iris would sometimes think, about marriage: it was only a boat, too. A wooden boat, difficult to build, even more difficult to maintain, whose beauty derived at least in part from its unlikelihood. Long ago the pragmatic justifications for both marriage and wooden-boat building had been lost or superseded. Why invest countless hours, years, and dollars in planing and carving, gluing and fastening, caulking and fairing, when a fiberglass boat can be had at a fraction of the cost? Why struggle to maintain love and commitment over decades when there were far easier ways to live, ones that required no effort or attention to prevent corrosion and rot? Why continue to pour your heart into these obsolete arts? Because their beauty, the way they connect you to your history and to the living world, justifies your efforts. A long marriage, like a classic wooden boat, could be a thing of grace, but only if great effort was devoted to its maintenance. At first your notions of your life with another were no more substantial than a pattern laid down in plywood. Then year by year you constructed the frame around the form, and began layering memories, griefs, and small triumphs like strips of veneer planking bent around the hull of everyday routine. You sanded down the rough edges, patched the misunderstandings, faired the petty betrayals. Sometimes you sprung a leak. You fell apart in rough weather or were smashed on devouring rocks. But then, as now, in the teeth of a storm, when it seemed like all was lost, the timber swelled, the leak sealed up, and you found that your craft was, after all, sea-kindly.

There was a diet center that sported a plywood cutout of a pink pig wearing a brick-red polka-dot dress. The bubble coming from the pig’s mouth held this phrase: A New Way To Lose Weight Without Starving To Death.

In front of a big aluminum building with a plywood cross on the roof, I kneel in a puddle and splash water on my face. I wash my mouth out with dirty gutter runoff and spit until I can't taste anything. That holy wooden "t" looms overhead, and I wonder if the Lord might ever find cause to approve of me, wherever and whatever he is. Have you met him yet, Perry? Is he alive and well? Tell me he's not just the mouth of the sky. Tell me there's more looking down on us than that empty blue skull.

And he had a couple of Bibles in need of customized repair, and those were an easy fifty dollars apiece – just brace the page against a piece of plywood in a frame and scorch out the verses the customers found intolerable, with a wood-burning stylus; a plain old razor wouldn’t have the authority that hot iron did. And then of course drench the defaced book in holy water to validate the edited text. Matthew 19:5-6 and Mark 10:7-12 were bits he was often asked to burn out, since they condemned re-marriage after divorce, but he also got a lot of requests to lose Matthew 25:41 through 46, with Jesus’s promise of Hell to stingy people. And he offered a special deal to eradicate all thirty or so mentions of adultery. Some of these customized Bibles ended up after a few years with hardly any weight besides the binding.

Years later in Toronto, on the plywood second story of the King Lear set, the words clarified the problem. He found he was a man who repented almost everything, regrets crowding in around him like moths to a light. This was actually the main difference between twenty-one and fifty-one, he decided, the sheer volume of regret.

Before the oily mortician could inquire who I was—or ask on whose authority I was permitted to view the contents of the plywood container—Owen Meany introduced me. “THIS IS MISTER WHEELWRIGHT—OUR BODY EXPERT,” Owen said. “THIS IS INTELLIGENCE BUSINESS,” Owen told the mortician. “I MUST ASK YOU NOT TO DISCUSS THIS.” “Oh no—never!” the mortician said; clearly, he didn’t know what there was—or might be—to DISCUSS.

Across the intersection he could see the crumbling blue-green facade of the Palace Amusements building, the grinning ten-foot-high face on its north wall smiling out on empty streets and vacant lots. The arcade entrances were covered with plywood; broken neon tubing hung from the walls. He thought of the hours he had spent there as a kid, playing pinball, firing the real .22s in the shooting gallery, riding the bumper cars. It hurt to look at it now.

The sun is going down, and piled-up storm clouds the size of Wyoming and Japan are headed our way. It’s not like I have a window at work. All the outside walls are floor-to-ceiling glass. Everything where I work is floor-to-ceiling glass. Everything is vertical blinds. Everything is industrial low-pile gray carpet spotted with little tombstone monuments where the PCs plug into the network. Everything is a maze of cubicles boxed in with fences of upholstered plywood.

Later, he'd walked by the open bathroom door and heard her talking to herself as she removed her makeup. "I repent nothing," he'd heard her say to her reflection in the mirror. He'd turned and walked away, but the words stayed with him. Years later in Toronto, on the plywood second storey of the King Lear set, the words clarified the problem. he found he was a man who repented almost everything, regrets crowding in around him like moths to a light. This was actually the main difference between twenty-one and fifty-one, he decided, the sheer volume of regret.

the typical Greek myth goes something like this: innocent shepherd boy is minding his own business, an overflying god spies him and gets a hard-on, swoops down and rapes him silly; while the victim is still staggering around in a daze, that god’s wife or lover, in a jealous rage, turns him—the helpless, innocent victim, that is—into let’s say an immortal turtle and e.g. power-staples him to a sheet of plywood with a dish of turtle food just out of his reach and leaves him out in the sun forever to be repeatedly disemboweled by army ants and stung by hornets or something.

A memory long forgotten swept over him and he was a child four years of age standing in the front seat of the 1936 Studebaker his father drove all through the war and his mother was sitting beside him in her best dress and coat and she had wet her handkerchief with her tongue and wiped his chin and his mouth and adjusted his cap while his father backed up the car and the wartime plywood house in which they lived receded before them. It was the smell of her perfume on that day that had flooded his nostrils. The muskrats would repair the roof faultlessly. But they never built another house in the millpond. Clouds

It’s not that I want children to fall into the pond per se, though I can’t really see what harm it would do them; it’s that I can’t help but assess the situation from the child’s perspective. And quite frankly I would be disgusted to the point of taking immediate vengeance if I was brought to a purportedly magical place one afternoon in late September and thereupon belted down to the pond, all by myself most likely, only to discover the word pond scrawled on a poxy piece of damp plywood right there beside it. Oh I’d be hopping. That sort of moronic busybodying happens with such galling regularity throughout childhood of course and it never ceases to be utterly vexing.

The twinkling steel above me is a star; I am a fallen Christmas tree. Our car Races through seven red-lights—then the road Is unpatrolled and empty, and a load Of ply-wood with a tail-light makes us slow. I turn and whisper in her ear. You know I want to leave my mother and my wife, You wouldn’t have me tied to them for life … Time runs, the windshield runs with stars.

If someone dies of anything other than extreme old age and natural causes, and often even then the death leaves a great void in the lives of the survivors, an emptiness like an abandoned mine that can never be filled. A deep chasm. If you're lucky, you might be able to cover it with plywood and rebar, to surround it with chain link and "Danger" signs, but at best, these are only ever temporary remedies, patches that might briefly hold up to the storms that will come and come again until the ground around the chasm grows so weakened and diminished that to approach the emptiness becomes ever more dangerous. And that's if you're lucky. If you're not, then the loss leaves a void as dark and desolate as a black hole, with a gravity so great that no light can escape.

The pay scales at large cooperatives are either identical to those at collectives or somewhat more unequal due to competitive pressures. The plywood co-ops paid all their members equally, the major exception being the general manager, who was usually a hired outsider and received a higher salary than members.74 In the conventional plywood mills, by contrast, the wages of the highest-paid workers and the lowest-paid differed by a factor of about 2.5.75 At Mondragon, until the 1980s the differential between the highest- and lowest-paid workers was fixed at 3:1. In recent years, with the pressures of globalization and the need to attract skilled managers who could receive much more money in private enterprises, some positions have been raised to a 6:1 ratio, while the CEO of the entire Mondragon corporation earns nine times more than the lowest-paid worker.76

From around the periphery of the city the Marine battalion staffs arrived in small clusters of Humvees and LAVs, dismounting outside the walls of the MEF, striding in tight groups through the makeshift plywood door into the alcove of the stone mansion that served as the regi-mental HQ, draping their ceramic armor vests and Kevlar helmets over the wooden racks that lined the wall outside the conference room. Several carried M4 carbines or M16s, while others wore pistols on their hips or in shoulder holsters. It was like a meeting of knights in the fifteenth century—large, purposeful men neatly arraying their armor before sitting down at the banquet table to discuss the business of making war. The mood was upbeat, with many smiles exchanged. The dickering was over. It was time to finish the task. They stood talking until Col Toolan strode in; then they took seats around a long, square table with a huge photomap of Fallujah on the wall.

The rain eased. A single drop, here then there, shook a leaf like the flick of a cat’s ear. Kya hopped up, cleaned out the Frigidaire-cupboard, mopped the stained plywood kitchen floor, and scraped off months of caked-on grits from the woodstove burners. Early the next morning, she scrubbed Pa’s sheets, reeking of sweat and whiskey, and draped them over the palmettos. She went through her brothers’ room, not much bigger than a closet, dusting and sweeping. Dirty socks were piled in the back of the closet and yellowed comic books strewn next to the two soiled mattresses on the floor. She tried to see the boys’ faces, the feet that went with the socks, but the details blurred. Even Jodie’s face was fading; she’d see his eyes for an instant, then they’d slip away, closing. The next morning, carrying a gallon can, she walked the sandy tracks to the Piggly and bought matches, backbone, and salt. Saved out two dimes. “Can’t get milk, gotta get gas.

Disability is a set of innovative, virtuosic skills. When abled people fuss about how hard it is to make access happen, I laugh and think about the times I’ve stage-managed a show while having a panic attack, or the time the accessible van with three wheelchair-using performers and staff inside broke and we just brainstormed for two hours—Maybe if we pull another van up and lower their ramp onto the busted ramp folks can get out? Who has plywood? If we go to the bike shop, will they have welding tools?—until we figured out a way to fix the ramp so they could get out. If we can do this, why can’t anybody? And this innovation, this persistence, this commitment to not leaving each other behind, the power of a march where you move as slowly as the slowest member and put us in the front, the power of a lockdown of scooter users in front of police headquarters, the power of movements that know how to bring each other food and medicine and organize from tired without apology and with a sense that tired people catch things people moving fast miss—all of these are skills we have. I want us to know that—abled and disabled.

정품구입문의하는곳~☎위커메신저:PP444☎라인:PPPK44↔[☎?카톡↔kap6] 정품구입문의하는곳~☎위커메신저:PP444☎라인:PPPK44↔[☎?카톡↔kap6] 정품구입문의하는곳~☎위커메신저:PP444☎라인:PPPK44↔[☎?카톡↔kap6] 정품구입문의하는곳~☎위커메신저:PP444☎라인:PPPK44↔[☎?카톡↔kap6] 오랬동안 구소련에서 사용되어온 드라구노프 SVD는 뛰어난 저격소총임에는 틀림이 없으나 각국의 최신 저격 소총과 비교하면 구식화 되었기 때문에 IZHMASH의 Vladimir Stronskiy가 설계하여 최신 저격용 소총인 SV-98이 개발되었다. 1998년 부터 IZHMASH에서 생산이 시작되었다. Used in the Soviet Union, for a Dragunov svd is There is no doubt that excellent sniper rifle, but from all over the latest in comparison with a sniper rifle out of date because it.Of the izhmash vladimir a sniper rifle, the latest design is stronskiy sv - 98 were developed. Since 1998, produced in izhmash. Polyamide made of casting is a special order and thin layer made of plywood. Handle the front at the bottom of barrel is narrow and long holes. Butt stroke to the airborne, is wood, but the butt of a dedicated fiber glass and is paid. Butt plate, and cheek, adjustable safety, fire is possible. Butt grip is from slipping have a checkered. In addition, snipers on the butt in the face in accordance with the shape of control and butt stroke to the base is adjustable with gun shot in optimal conditions, makes you can do.

I started to sing. Yes, sing. "I'm a Yankee Doodle Dandy. Yankee Doodle Do or die." I let go of Henry and Caroline and started marching, like I was the leader of a parade. "An old old something something la la la, born on the Fourth of July." So maybe I didn't know the words, exactly. Alex joined in. Astrid, too. All three of us marching like idiots. "You're my Yankee Doodle sweetheart, Yankee Doodle do or die." I led the three of us, making up the words somewhat and we walked in front of the gate, getting between the eyes of the little kids and the plywood, just trying to break the terror spell of the monster outside. Who now stared to yell, "YOU SINKING 'YANKEE DOODLE'? 'YANKEE DOODLE DANDY'? I'LL F--- KILL YOU!" Niko joined in and that guy, I am here to tell you, is entirely tone deaf. But the little kids kind of snapped to. We caught their attention. "Yankee Doodle went to town a riding on a pony. I am a Yankee Doodle guy." And the kids started marching and I led the parade, the saddest parade in the history of the world, away from the front of the store, away from the monster outside, and right to the stupid cookie and cracker aisle. We ate fudge-covered graham crackers for a good long while.

With a few of his colleagues, he built two sets of homes for laboratory rats. In the first home, they lived as they had in the original experiments, in solitary confinement, isolated except for their fix. But then he built a second home: a paradise for rats. Within its plywood walls,11 it contained everything a rat could want—there were wheels and colored balls and the best food, and other rats to hang out with and have sex with. He called it Rat Park.12 In these experiments, both sets of rats had access to a pair of drinking bottles. The first bottle contained only water. The other bottle contained morphine—an opiate that rats process in a similar way to humans and that behaves just like heroin when it enters their brains. At the end of each day, Bruce or a member of his team would weigh the bottles to see how much the rats had chosen to take opiates, and how much they had chosen to stay sober. What they discovered was startling. It turned out that the rats in isolated cages used up to 25 milligrams of morphine a day, as in the earlier experiments. But the rats in the happy cages used hardly any morphine at all—less than 5 milligrams. “These guys [in Rat Park] have a complete total twenty-four-hour supply” of morphine, Bruce said, “and they don’t use it.” They don’t kill themselves. They choose to spend their lives doing other things. So

The Soviet Union was the only nation involved in the Second World War to put women in the sky as fighter and bomber pilots, and what women they were! Products of the Soviet aviation drive of the 1930s, these young fliers were championed by Marina Raskova, the Amelia Earhart of the USSR. The day bombers and the fighter pilots (among the latter, Lilia Litviak, seen in cameo at the Engels training camp, was killed in an aerial dogfight during the war, but became history’s first female ace) eventually integrated with male personnel . . . but the night bombers remained all-female throughout their term of service and were fiercely proud of this fact. The ladies of the Forty-Sixth Taman Guards Night Bomber Aviation Regiment went to war in the outdated Polikarpov U-2, an open-cockpit cloth-and-plywood biplane, achingly slow and highly flammable, built without radio, parachute, or brakes. (It was redesignated the Po-2 after 1943; I was unable to pinpoint an exact date for the change, and continued to use the term U-2 for clarity.) The women flew winter and summer, anywhere from five to eighteen runs per night, relying on stimulants that destroyed their ability to rest once off-duty. They flew continuously under these conditions for three years, surviving on catnaps and camaraderie, developing the conveyor belt land-and-refuel routine that gave them a far more efficient record than comparable night bomber regiments. The women’s relentless efficiency waged ruthless psychological warfare on the Germans below, who thought their silent glide-down sounded like witches on broomsticks, and awarded them the nickname “die Nachthexen.” Such dedication took a toll: the regiment lost approximately 27 percent of its flying personnel to crashes and enemy fire. The Night Witches were also awarded a disproportionately higher percentage of Hero of the Soviet Union medals—the USSR’s highest decoration.

Ryder! What’s taking you so long?” “I’m on my way!” he yells back. It feels like forever before he pushes open the door and ducks inside. Then I see why it took him so long. He’s somehow got the three cats tucked under one arm and the cake plate clutched in the other hand. No spare for a flashlight or lantern--so he accomplished this all in the dark. “Here,” he says, handing off the cake to me before releasing Kirk, Spock, and Sulu into the crate and latching the door. “Seriously, Ryder? You brought the cake?” He shrugs. “I was hungry.” Hmm, I guess all that kissing worked up his appetite. For cake. I’m not sure if I should be offended or not. On the plus side, he doesn’t look like he’s about to puke. So we’re making progress as far as his fear of storms goes. I guess that’s something. “Did you happen to bring a fork?” I ask, setting the plate on the makeshift tabletop. He produces two from his pocket, holding them up triumphantly. So we eat cake while the sirens blare. Actually, it doesn’t sound that bad out there. Still, the fact that we’re so calm--that Ryder’s so calm--should tell you how routine this is getting. As long as we don’t hear that awful freight-train sound, we’re good. “What happened to the cake?” he asks between bites. “It looks like someone mutilated it while I was gone.” “Sorry,” I mutter. “Guess I did some stress bingeing. You realize you’re not wearing a shirt, right?” He glances down and shrugs, his cheeks flushing ever so slightly. “Sorry ’bout that.” It might seem silly that he’s apologizing, but at Magnolia Landing, you don’t come to the table unless you’re fully dressed. It’s one of Laura Grace’s most unbendable rules--you dress for meals, even breakfast. Not that this counts as a meal, and I’m not sure you could call this plywood-on-top-of-a-crate thing a “table.” But still… By the time the sirens shut off, we’ve completely cleaned the plate, even scraping off the hardened frosting with our fingers. “That was quick,” I say, setting aside the now-empty plate. Ryder nods. “I guess we should give it a minute or two. You know, make sure it’s not coming back on.” So we wait. Silently. Ryder can’t even meet my eyes, and all I want to do is stare at his lips. This is crazy. I mean, what do we do now--now that the sirens are off and the cake is gone? Apparently, the answer is pretend like nothing happened.

Wherever you look, everything is in a row: a seven-story pile abutting a three-windowed log hut hard by a fantastical L-shaped mansion; ten paces from its columns is an outdoor market; farther on, a polluted pissoir; farther still, the white light of a belfry's tent roof, fringed cupolas rising into the blue - and, towering over the tiny church, another enormous edifice gleaming with fresh paint. Moscow is a mishmash of utterly unrelated (logically and optically) building ensembles, of large and small houses crammed from cellar to eaves with utterly unrelated offices, apartments, people living apart, at odds, past one another, yet separated only by thin walls, often plywood that doesn't reach the ceiling. In Moscow people and their paraphernalia are close to each other not because they are close but because they are side by side, cheek by jowl.

A DAY IN THE WRITER’S LIFE . . . Virginia Woolf awoke early every morning, either at her home in London or the country house in Sussex, and breakfasted with her husband. Around 9:30 a.m., they both retreated to their respective writing rooms, hers an explosion of muddle—books, papers, odds and ends—where, assuming she was well, Woolf would sit in her armchair, plywood board on her lap, to work on her latest piece of fiction until 12:30 or 1 p.m., when she would break for lunch. In the afternoon, she would almost always take a walk, write in her diary, or work on an essay. Teatime came in the late afternoon. Then, before dinner, she would sometimes make revisions, sometimes read, or sometimes even see friends. The nighttime hours were for reading or socializing—her mind, she claimed, was no longer fit for writing after the sun went down.

YOU CAN SEE FOR MILES in both directions from the point on Ruby Ridge. From here, the paths of the Weaver family and the federal government seem inevitable, trucks barreling toward each another on a one-lane road. The government’s route to Ruby Ridge was a twenty-year drift toward militaristic law enforcement, in which quiet agents in suits gave way to federal SWAT teams competing for funding, in which unchecked arrogance and zeal allowed federal agents to act as if their ends justified their means. For the Weavers, the trail to this place cuts right through our own backyards, through patriotism, the military, fundamentalist Christianity, and eventually paranoia. Randy and Vicki’s story is a map of disenfranchisement. They were seduced by conspiracy and a religion called Christian Identity, by beliefs steeped in racism and fear of government oppression, beliefs that helped bring about the very thing they feared. Ultimately, you come to the Weaver story along the same trail Randy and Vicki took, from the heart of Christian Iowa to the deep woods of North Idaho. There is much to ponder along the way—the accountability of government and the danger of paranoia, the villainy of coincidence and the desperate need to decide, every day all over again, where society’s lines will be drawn. Up a twisting, rutted dirt road, past gnarled pine trees and scrub grass, you come finally to a sign at the edge of the old Weaver property. Two sets of unbending law clashed on the mountain, two incompatible views of the world, outlined by defiant red letters painted on a plywood sign: “Every knee shall bow to Yahshua Messiah.

Our regiment was all women…We flew to the front in May 1942… The planes they gave us were Po-2s. Small, slow. They flew only at a low level. Hedge-hopping. Just over the ground! Before the war young people in flying clubs learned to fly in them, but no one could have imagined they would have any military use. The plane was constructed entirely of plywood, covered with aircraft fabric. In fact, with cheesecloth. One direct hit and it caught fire and burned up completely in the air, before reaching the ground. Like a match. The only solid metal part was the M-11 motor. Later on, toward the end of the war, we were issued parachutes, and a machine gun was installed in the pilot’s cabin, but before there had been no weapon, except for four bomb racks under the wings—that’s all. Nowadays they’d call us kamikazes, and maybe we were kamikazes. Yes! We were! But victory was valued more than our lives. “Before I retired, I became ill from the very thought of how I could possibly not work. Why then had I completed a second degree in my fifties? I became a historian. I had been a geologist all my life. But a good geologist is always in the field, and I no longer had the strength for it. A doctor came, took a cardiogram, and asked, “When did you have a heart attack?” “What heart attack?” “Your heart is scarred all over.” I must have acquired those scars during the war. You approach a target, and you’re shaking all over. Your whole body is shaking, because below it’s all gunfire: fighter planes are shooting, antiaircraft guns are shooting…Several girls had to leave the regiment; they couldn’t stand it. We flew mostly during the night. For a while they tried sending us on day missions, but gave it up at once. A rifle shot could bring down a Po-2… We did up to twelve flights a night. (...) You come back and you can’t even get out of the cabin; they used to pull us out. We couldn’t carry the chart case; we dragged it on the ground. And the work our girl armorers did! They had to attach four bombs to the aircraft by hand—that meant eight hundred pounds. They did it all night: one plane takes off, another lands. The body reorganized itself so much during the war that we weren’t women…We didn’t have those women’s things…Periods…You know…And after the war not all of us could have children.

Omit the Mouth that Answers the scrub pine dropping needles in a hush. Omit the washer junked in the corner, mice making nests in its hose. Omit his key in the ignition. Omit exhaust. Omit the mouth that answers. Omit the barn cat curled asleep on a pile of kindling in the corner of the garage. Omit the bicycle noosed to its rack. Omit the saw blade's teeth, the workbench hammer, the uncut plywood beside the rake. Omit the work lamp with its filmy eye. Omit his face gone slack. Omit the mouth that answers. Omit the algebra book open on the seat. Omit the moonlight, the cottonwood's glut of hairy seeds. Omit the drag of the door. Omit the air let loose from his lungs. Omit the mouth that answers. Omit the rise of swallows: wing, beak and claw. Omit the phone call, the dial tone's skidding hum. Omit the daylight's questions. Omit our grieving tongues.

Even sober, she’d rail against that: all the junk my father dragged home and left in the yard or the basement—old newspapers and magazines, toaster ovens picked out of the trash, hoses, sheets of plywood—all of it “perfectly good,” all of it just what he needed.

We drove by several abandoned houses that were surrounded by overgrown grass and had windows boarded over with plywood. The chipped and peeling paint was covered with graffiti.

Thalia,” I said, “lighten up on the accelerator.” “I’ve got it, Percy,” she said, gritting her teeth. But she kept it floored. “Loosen up,” I told her. “I’m loose!” Thalia said. She was so stiff she looked like she was made out of plywood.

some with plywood hiding his name.

The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real … for a moment at least … that long magic moment before we wake. Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end. Reality is the strip malls of Burbank, the smokestacks of Cleveland, a parking garage in Newark. Fantasy is the towers of Minas Tirith, the ancient stones of Gormenghast, the halls of Camelot. Fantasy flies on the wings of Icarus, reality on Southwest Airlines. Why do our dreams become so much smaller when they finally come true? We read fantasy to find the colors again, I think. To taste strong spices and hear the songs the sirens sang. There is something old and true in fantasy that speaks to something deep within us, to the child who dreamt that one day he would hunt the forests of the night, and feast beneath the hollow hills, and find a love to last forever somewhere south of Oz and north of Shangri-La. They can keep their heaven. When I die, I’d sooner go to middle Earth.

A flick of a switch reveals a space half homeless-person’s midden, half pharaonic tomb. Talismans everywhere: totems, drawings, and cargo cult, laid out on plywood planks spread across sawhorses.

What Is Fantady? Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end.

A squatter of unfathomable terror lurks upstairs in that deserted bedroom, nothing but plywood and joists separating hell on Earth from the kitchen table below.

The terrain deteriorated rudely to a block of scabrous one-story buildings on a dry-dust lot. A pool hall, a liquor store, and a bar advertising “nude table dancers,” all plywood-boarded and choked with graffiti. Even sin couldn’t flourish here.

sister’s loan. It’s not a detailed plan, and technically I have no idea what I’m getting into. However, it’s the only option. Finally I reach the edge of pack territory. You can’t miss it because there’s a huge sign, white paint on a slab of plywood. PRIVATE PROPERTY. And a drawing of a howling wolf.  Then a few meters in, another one with a spotlight shining on it. PRIVATE. NO TRESPASSING. I stop in front of that one. If I’m there to talk to the alpha, then I’m not trespassing, right?  Gathering my courage, I set off again, the bike squeaking with every inch of travel.  I hear a rustling

In watching any of the hoverboard sequences, especially the extended ones like the chase in the Hill Valley square and the tunnel where Biff is trying to reclaim the sports almanac, one can see that a mixture of techniques were used. In some cases, the effects that appear amazing on-screen were really quite low-tech. Thin metal wire legs were placed right in the middle of the underside of some Styrofoam props, so that when Michael J. Fox threw them down, they would wobble as if levitating. In shots where one end of the board was out of frame, the other side was sometimes held by a crew member until Fox grabbed it and tucked it under his arm. When the actors’ feet were obscured, they were often shot from the waist up and put on actual skateboards. Sometimes they were pulled on a large dolly. Large sheets of plywood would be added to the ground in order to create additional height in comparison with the rest of what was in the frame.

When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.

They led me across the commissary and along a short hall into the next building. The skinhead was named Royce, and Royce liked to bitch. He and most of the other guards had arrived yesterday, and didn’t like busting their asses all night to put up the plywood. He went on about it until the Syrian told him to shut up. Then he shut, and we passed more guards. Most carried shock prods and clubs, but some had short black shotguns and one had a Chinese Kalashnikov. They looked tense and anxious, and their silence and weapons made me wonder what the Syrian was expecting. The

The universal logo for a pizzahut is eight slices painted cross a disc of yellow plywood mounted in the mouth of a taxidermic hippopotapus.

There you are,” I told my mother, standing in the hot breeze that had entered along with the rattle of traffic and the voices in the street. “Brooklyn.” My mother turned to Gabe, who was holding her hand. “Show me,” she said again. The strain of this vigil was evident in the shape of his shoulders and the weariness in his eyes. He glanced up at me where I stood by the window and then down at her again. “All right,” he said softly. He got up slowly, pushing back the old dining-room chair. He leaned over the bed, slipping his hands beneath her. I watched in some astonishment as he lifted her, the bedclothes trailing. “Get the door,” he said over his shoulder as he made his way out of the room with our mother in his arms like a child. He turned to his side to fit them both through the passageway, and I overtook them in the living room. We had lined the woodwork here with boric acid, to keep the roaches at bay, and there was something of its pale dust over everything in those days. It sometimes made me recall: sand of Syria and Mount Lebanon. I went ahead to open the door. Gabe slipped through it, our mother in his arms. I followed them down the stairs, astonished, full of objections, but unable to object. I watched him as he gently negotiated the turnings. I wondered briefly if he planned to carry her all the way to the hospital. In the vestibule, the door to the parlor-floor apartment was still patched with plywood. Gabe turned to me and nodded toward the street. My mother’s eyes were closed. In my brother’s arms she seemed as small and light as an infant. I went ahead to pull the first door open, and then slipped around them to get the outer door as well. There was a blast of heat. Gabe carried my mother into the sunlight and down the steps. There were kids on the stoop across the street, there was the tinny music from their transistor radios. They glared, open-mouthed. A pair of dark men passing by looked up as Gabe came down the stairs with my mother in his arms. They walked to the curb, glancing over their shoulders, giving him wide berth. Gabe, too, went to the curb and then turned around to look back up at the house. I rushed to scoop up the sheet and the blanket that was now brushing the sidewalk. “You’re here, Momma,” I heard him say. “Where we’ve always lived.” My mother raised her head. She extricated one thin hand from the winding bedclothes and raised it to her eyes against the sun. She looked down the street and then up at our building, the blue summer light reflecting in the glass of the front door, the bowed parlor window—some plywood there, too—and then up to the fourth floor, where a bit of lace curtain, her handiwork, had been drawn through the opened window. “Not home,” I heard Gabe tell her, reassuring her. “Brooklyn.

Perhaps the current state of my health should have raised a bright red caution flag, but instead it fired me up. I wanted to do what I wanted. I didn't care if hefting plywood and climbing ladders weren't on my doctor's recommended list of activities, or if I was foolhardy to think I could lift a fifty-pound roll of tar paper into and then out of my car. I was going to do it because it sounded like a blast, like the best possible way to have fun.

I had worked my way through a thousand problems, like when the tar paper bulged on the corners so I used a strap wrapped around the whole house and ratcheted it tight to attach the trim; I had figured that out without using a book, and that was just one of a bunch of ideas that had saved the day. I liked it; I was falling in love with the way my kneecaps knew how to hold a piece of plywood halfway up till I could grab the underside with my hand. I like the way the little house was taking shape, and the way it seemed to double-dog dare me to step in... move in.

He closed the makeshift plywood door, sealing the space so Ethan would not have to hear any sounds from the outside world: not the voices of men, not the scream of steam engines as they arrived at the nearby station. The only sounds would be of their bodies breathing, of their clothes rustling, of skin moving against soft skin. The shack was small and humble, but it was cozy and private, and lit with a light that did not seem to come entirely from the lantern. Afterword, Ethan wept, and Love whispered things meant to make him feel safe. Were it possible, he would have traded his immortality to remain with this beautiful soul, to concentrate all that love on a human who needed it so.

She pointed to another area of the barn where other large pieces of plywood had been painted with snowflakes. “I need to finish just a few things on the scenery, so I’ll be on hand if you need help with anything.” The best help she could offer would be to stay out of his way. She was entirely too tempting to his peace of mind, but he couldn’t figure out a way to say that without sounding like an idiot, so he just decided to focus on the job at hand.

I went out to the area of drift logs on the shore, looking for dimensional lumber or plywood to repair the cabin’s wood box. Ninety-eight percent of driftwood is logs. They have their own beauty; shades of blond and gray, curved and hollowed and sleeked like a human body – or perhaps we’re like them – aged and smoothed by years of tumbling in the seas and on the rocks.

A new dreadful stench assaulted my nostrils. The grim little apartment appeared to be a warren of pasteboard and plywood, with undistinguished printed posters covering the walls. But what could account for this smell? I realized suddenly that it came from the cats she kept in this place, which were allowed to relieve themselves in a box of earth. I saw the box of earth, full of cat excrement, sitting on the floor of a small open bathroom, and I really thought it was all over, I was going to die! I stood still, straining to keep myself from vomiting. There was a grinding pain in my stomach again, not hunger this time, and my belt felt painfully tight. The pain grew sharper. I realized I had to perform a similar duty to that already performed by the cats. Indeed, I had to do it now or disgrace myself. And I had to go into that very same chamber. My heart came up in my throat.

Everything had gone so cheap and gaudy and hollow. Buy a table these days, what you got was an eighth of an inch of pine pressed onto plywood. Spent $1200 for a chair and you couldn't sit in the damn thing.

John Deck was a snake fancier. He had only been rattler-bit a few times. At an early age he'd had his own pit full of diamondbacks, a plywood affair out near the garage. Some of the snakes would scootch themselves up vertically along the boards and John, cocky lad, used to knock them back down with his own quick right hand, until one day he presumed against a snake that was readier than he was, and caught a palmload of fangs.

The blast blew a hole in the smack middle of the strange Utopia vision before him and shook the dust out of the plywood roof which rained down on his head in a barrage of spiraled tendrils. It was through a fit of coughing and ears ringing that Jarvis had returned to himself. Spirit, mind and body reuniting in a Pentecostal collision. Once again, he was immersed in that role he could not seem to escape.

Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end.

Aalto (Hugo) Alvar (Henrik) (1898–1976), Finnish architect and designer. He often used materials such as brick, copper, and timber in his building designs to blend with the landscape. As a designer he is known as the inventor of bent plywood furniture.

fashioned tables by laying plywood on

I am skeptical, only because I have read the 1978 paper by researchers at Pennsylvania State University who tried to warn away white-tailed deer by erecting roadside plywood cutouts of deer rear ends with tails a-flagging. On some, the raised tail was painted white; on others, an actual deer tail had been nailed in place. Sadly, because who wouldn’t want to see our nation’s highways lined with plywood deer asses with decomposing tails, none of it worked.

When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.

I hate LA. I was born here and I know it well, and have even read or been told some of its history in school, and I really do hate it. The truth is, after World War Two this place went from a sleepy little spread of villages to the ten million people here now, and during that time the developers were getting rich making ticky-tack suburban neighborhoods, that and putting in the freeways, which cut the plain into a hundred giant squares, and all of it crap. No plan, nothing good, no parks, no organization, no plan of any kind. Just buy some orange grove and subdivide it and tear out the trees and build a bunch of plywood houses, and then do it again, over and over. It happened in a snap of the fingers, and it was never anything but stupid. And that’s what we’ve been living in ever since! And more than a few of us trying to live out a remake of the movie La La Land. It was double stupid.

For generations Ashton had taken pride in its grass-roots warmth and dignity and had striven to be a good place for its children to grow up. But now there were inner turmoils, anxieties, fears, as if some kind of cancer was eating away at the town and invisibly destroying it. On the exterior, there were the store windows now replaced with unsightly plywood, the many parking meters broken off, the litter and broken glass up and down the street. But even as the store owners and businessmen swept up the debris, there seemed to be an unspoken sureness that the inner problems would remain, the troubles would continue. Crime was up, especially among the youth; simple, common trust in one’s neighbor was diminishing; never had the town been so full of rumors, scandals, and malicious gossip. In the shadow of fear and suspicion, life here was gradually losing its joy and simplicity, and no one seemed to know why or how.

She walks up the slight incline of the hill, past an old church here with boarded up plywood on the windows, and a sign outside reading TRESPASSERS WILL BE PROSECUTED. God's body, decaying, has now been cut off from society; do not touch him, for he is owned by a variety of contractors, and they have legal power over the likes of you.

She wondered how her girlhood home had fared. Did the walls (a combination of mud and plywood) still smell like life? Did vivid leaves still shimmer through the windows (little more than pane-less holes) like hope? Did rain still tap-dance on the roof (a rusty sheet of corrugated metal) like joy?

Other nights, when she woke anxious, she’d follow the cursor to Middle Street, to the squat red bricks of the Portland Police Headquarters or to the courthouse, where she’d examine the building so closely she could make out which windows had air-conditioner units and which units were reinforced with plywood planks. She’d check the online news after that to learn in real time about car accidents, assaults, and fires. Google Earth would then take her there, to the very spot where the incident occurred, so she could search, block by block, irrationally—these weren’t webcams—for signs of Julia or Nick or their no-air-bag car.

/kɔ̃tʀəplake/ nm plywood

Entering the city of Monrovia on Tubman Boulevard, the road suddenly became paved and a little smoother. Most of the other streets were made of sand and coated with used crankcase oil, making them extremely slick. I couldn’t believe the huge water-filled potholes everywhere; couldn’t they fill them in? A major problem was that there was no way of knowing how deep the holes were since they were full of water…. Jimmy had his hands full bouncing along in a car that didn’t seem to have shocks, and from the looks of the tires I don’t believe the front wheels had ever been aligned. Some of the streets went from being a rutted, muddy mess, to being exposed bed-rock with shale stone filling in the worst holes. Somehow Jimmy skillfully navigated these streets, at what I considered at the time, as being reckless speeds. We passed simple dwellings pieced together from flotsam, debris, and recycled planks or pieces of plywood, including what appeared to be random soft drink signs and the likes. It reminded me of some of the Mexican border towns I had been to. There were mangy dogs picking through the piles of garbage, without much hope of finding anything edible. The raw garbage, scattered on the streets, had obviously been picked through already by people or other feral beasts trying to live off the land. If the dogs and cats left anything behind, I could only imagine the rats getting it!

Monkeys are caught in a number of ways, but one of the most unique ways is a do-it-yourself project. Make or perhaps get a large sturdy wooden box out of dunnage or plywood and modify it so that one side is mostly wire-mesh. Drill a hole into one of the adjoining sides that is just large enough for the monkey’s hand to fit through. Finally, place a banana into the box through a trap door installed in the bottom of the box. The result should be that the banana in the box is visible to the monkey through the side having the wire-mesh. Seeing the banana, the monkey will reach through the hole, grab the banana and then try to pull it through the hole. Of course, having made a fist around the banana makes the monkey’s hand too large for it to be extracted. Normally the monkey’s greed will overcome his intelligence and he won’t let go and Voila, you have caught the little critter and now the fun begins! The difficult part is separating the monkey from the banana and the box without the monkey biting and tearing your hand to shreds. This part works best if you have a large cage which you can use to transfer the monkey into. However, wearing gloves is definitely a given!

plane. Bill was putting gas in the left wing when he looked over at us and said, "You okay with a little turbulence?" Without hesitating I answered, "Yeah, no problem." I thought about it for a minute then asked, "How much turbulence are we talking about?" "It shouldn't be too bad." Then why did you mention it? I thought to myself. Now I was the one worried. I dug through my backpack and found my tube of ten-year-old Dramamine. Karen had a full water bottle so I swallowed a pill with a couple of long gulps. Bill asked which one of us wanted to sit up front with him. I looked at Karen and she said, "God no!" Karen climbed in the single back seat and Bill placed our backpacks next to her. Karen kept the plywood Kobuk sign at her feet. With the co-pilot seat pushed back into Karen's knees, I wriggled my way across the pilot's seat and settled in the front right seat of the plane. It was hard getting in without bumping against the controls and switches on the dashboard. I could imagine the windshield wipers flapping and the radio blaring like a high school practical joke when Bill started the engine. Or worse, that in flight he wouldn't find that one critical setting that I'd changed until it was too late and the plane was plunging to the ground. I decided to not say anything and assume he would check them before the flight like pilots are supposed to do. Besides, I'm sure he's had more clumsy passengers with bigger butts than me shoehorn themselves into the co-pilot's seat before. Bill taxied the plane slowly to one end of the pond giving us room to takeoff and allowing the engine to warm up. When Bill turned the plane toward the direction of our takeoff and gunned the engine, I was surprised at how close we were to the trees on the approaching shore. But my concern was unnecessary; by the time we reached the trees we were well above them. In an instant, we were high enough in the sky to

He didn’t know how he got in the box.  Everything was foggy and numb like the bad end of a heavy dose.  He tried to blink himself clear, but couldn’t focus his mind.  This wasn’t heroin. He knew the difference.  His throat folded over on itself as he tried to swallow. When was the last time he drank something? When was the last time he remembered doing anything? And why the hell was he in a box? His hands were bound and he could feel the roughly cut end of a zip-tie digging into the skin on his leg where his wrists had been resting.  It felt like wood under his fingernails in the dark and he could feel the corners around him — he was hunched over, his knees to his chest. There were air holes the size of his fingers drilled through the plywood. He remembered the feeling of the layers from that time he’d been made to help his dad build that bookcase that fit in the nook under the stairs.  Mum had wanted to have one made, but dad had said it was way too expensive, and that he would build one — with Ollie’s help.  Why the hell was he in this box?  His arm was itching, the track marks enraged and fresh.  Ollie kicked out, his bare heels catching splinters as he thumped against the sides, listening to the noise ring in the room around him. He couldn’t see anything, couldn’t hear anything except his own heart in his ears. He could smell fresh sawdust, damp earth, something sharp and synthetic, like bleach, and his own breath, hot against his cheeks as he pressed his eye to the hole above him. He tried to calm himself, replaying the last things he remembered over and over in his head. It was all fog. There were streets, people he knew but whose faces he couldn’t see, then there was someone he didn’t recognise, someone alien to him, and then nothing.  His fingers traced the seams, looking for a gap. There wasn’t one.  Tears burned hot on his face, his eyes stinging in the dust.  He kept searching, the rough skin under his chewed nails discovering the hard protrusion of an angled nail. The tip was sticking out through the wood on his right side — hammered through the lid at an odd angle. God, how couldn’t he remember being nailed inside a damn coffin?  He pulled at it, hands still bound, and felt his fingernails pull back.  He wept more, digging into the wood around it, focused solely on it. The only weak point in the box. His only chance. There was no one else around and he had to escape. That was all he knew.

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

Ellie thinks we’ll get in trouble,” she says. “We might.” “You don’t seem to care,” she says. “I live in a plywood tilt-a-whirl, Carrie.

Maybe you need to embrace disappointment. The way you don’t sleep at night, dreaming of dry dust on furniture and the pleasant odor of plywood and what it feels like to peel skin off of your thumb. Maybe you should begin that perfect novel which will save you. Pluck you from the ruddy jaws of a monster that is right there beyond your failing sight. Not today, Satan, or Ronald Reagan— you learn that often enough evil is not about nuance. It was raining the day I was born and years later I haven’t learned much more about the stars: fire and cold light afloat in the murk of the cosmos. Last night I read about the doctors who removed 526 teeth from a boy’s dying jaw: hours in they feared there was no end to it. That his pain was infinite. Their hands trapped. Bits of white bone arrayed in a spiral beside his sleeping face and it was lovely and an evidence of the divine. Well, not really. Maybe you aren’t real, aren’t listening to the wind as it goes through the night like a sad prayer beneath the stippled sky. Maybe. Just maybe things will get better. Give it a year.

Rain-silvered plywood,

I just go with it, focus on whichever feeling I have most often and try to keep my mouth shut when it’s the other. But most folks got Id and Ego living on different floors in their head’s house, in different rooms, and they’ve locked all the doors between them, and nailed sheets of plywood over that, because they think they’re, like, sworn enemies that can’t hang together.