Recreation Room Quotes

I went to the recreation room and knelt down in front of the same Nativity scene where I’d prayed to Baby Jesus to find my mother when I was a child. I looked at him lying there in his bed of hay and wondered why this scene never left me. Over the years, whenever I prayed, I prayed to Baby Jesus. He was the miracle baby who never grew up. I believed that he really listened to me and often answered me. As I knelt there I realized that Sister Silvestris was right all along. She told us every Christmas that whatever we asked of Baby Jesus he’d grant us.

Neat rooms were easy to rifle through and search undetected because it was simple to put carefully placed things exactly where they'd been. But messes, on the other hand, were difficult to recreate.

The first words that are read by seekers of enlightenment in the secret, gong-banging, yeti-haunted valleys near the hub of the world, are when they look into The Life of Wen the Eternally Surprised. The first question they ask is: 'Why was he eternally surprised?' And they are told: 'Wen considered the nature of time and understood that the universe is, instant by instant, recreated anew. Therefore, he understood, there is in truth no past, only a memory of the past. Blink your eyes, and the world you see next did not exist when you closed them. Therefore, he said, the only appropriate state of the mind is surprise. The only appropriate state of the heart is joy. The sky you see now, you have never seen before. The perfect moment is now. Be glad of it.' The first words read by the young Lu-Tze when he sought perplexity in the dark, teeming, rain-soaked city of Ankh-Morpork were: 'Rooms For Rent, Very Reasonable.' And he was glad of it.

We don’t talk about it. There’s never so much as a knowing look. We sit here in silence, eating our lunch. But I know we are all here for the same reason. We’re all searching for a piece of home, or a piece of ourselves. We look for a taste of it in the food we order and the ingredients we buy. Then we separate. We bring the haul back to our dorm rooms or our suburban kitchens, and we re-create the dish that couldn’t be made without our journey. What we’re looking for isn’t available at a Trader Joe’s. H Mart is where your people gather under one odorous roof, full of faith that they’ll find something they can’t find anywhere else.

I admire the Queen greatly,” Casanova confided in me. “She can tie a man up by his thumbs, discuss philosophy with Diderot and Voltaire, and plot and scheme like a Dutch diplomat. She has voracious appetites, uses exquisite French scents, is kind to animals, fences like a Hungarian hussar, recreates herself on a white silk swing in a room full of mirrors, and gives afternoon tea parties for society ladies. Useful horsewoman, too.

I sit on the steps in the heat of the sun and listen as one by one these car alarms extinguish themselves until once more only the muted roar of the city is audible, and the city, bathed in sunlight, once again resumes dreaming its collective dream. Cars roll down the city's roads, plants grow from its soil, wealth is generated in its rooms, hope is created and lost and recreated in the minds and souls of its inhabitants, and the city continues its dream and searches for those ideas that will make it strong.

As for me, I feel myself living and thinking in a room where everything is the creation and the language of lives profoundly different from mine, of a taste opposite to mine, where I find nothing of my conscious thought, where my imagination is excited by feeling itself plunged into the depths of the non-ego; I feel happy only when setting foot—on the Avenue de la Gare, on the Port, or on the Place de l'Eglise—in one of those provincial hotels with cold, long corridors where the wind from outside contends successfully with the efforts of the heating system, where the detailed geographic map of the district is still the sole ornament on the walls, where each noise helps only to make the silence appear by displacing it, where the rooms keep a musty perfume which the open air comes to wash, but does not eliminate, and which the nostrils inhale a hundred times in order to bring it to the imagination, which is enchanted with it, which has it pose like a model to try to recreate it with all the thoughts and remembrances that it contains...

God wants to use you as a divine show room, where the poor, the wearied and the depressed will find comfort and recreation! You got to be kind. It's a sign that you have conquered greed!

In the sixties, the Commune emerged as a riposte to the nuclear family. This was an autonomic re-creation of not only preindustrial, but pre-agrarian life; it was the Return to Nature, but the Commune, like the colleges from which the idea reemerged, only functioned if Daddy was paying the bills, for the rejection of property can work only in subvention or in slavery. It is only in a summer camp (College or the hippie commune) that the enlightened live on the American Plan—room and board included prepaid—and one is free to frolic all day in the unspoiled woods.

But with the morning almost gone, with seven bodachs in the recreation room, with living boneyards stalking the storm, with Death opening the door to a luge chute and inviting me to go for a bobsled ride, I didn't have time to put on a victim suit and tell the woeful tale of my sorrowful childhood. Neither time nor the inclination

I find it wholesome to be alone in the greater part of the time. To be in company, even with the best, is soon wearisome and dissipating. I love to be alone. i never found the companion that was so companionable as solitude. We are for the most part more lonely when we go abroad among men then when we stay in our chambers. A man thinking or working is always alone, let him be where he will. Solitude is not measured by the miles of space that intervene between a man and his fellows. The really diligent student in one of the crowded hives of Cambridge College is as solitary as a dervis in the desert. The farmer can work alone in the field or the woods all day, hoeing or chopping and not feel lonesome, because he is employed; but when he comes home at night he cannot sit down in a room alone, at the mercy of his thoughts, but must be where he can "see the folks," and recreate, and as he thinks remunerate, himself for his day's solitude; and hence he wonders how the student can sit alone in the house all night and most of the day without ennui and "the blues;" but he does not realize that the student, though in the house, is still at work in his field, and chopping in his woods, as the farmer in his, and in turn seeks the same recreation and society that the latter does, though it may be a more condensed form of it.

Time dims memory. But not that kind. Somewhere in a corner of the brain, one little cell never forgets. It keeps the song that, heard again, recreates the room, the person, the moment. It preserves the phrase or the laugh or the gesture that resurrects a friend long gone. It knows precisely where you were and what you were doing when you heard about Pearl Harbor if you're old enough, or Kennedy's assassination, or Martin Luther King's, or the Challenger explosion. Every detail is frozen in memory, despite all the years. It keeps the innocuous question, too. The question that sometime later, when all the synapses are working, produces the epiphany, the moment when you're driving along and you realize that finally you understand. And why did it take you so long?

The small talk that sprang readily to their lips came to hers only with a tremendous effort. After an opportunity had come and gone, she often scolded herself for not saying this or doing that, for laughing too loud or smiling too little. Whenever she tried to re-create the moment of contact, she was easily rebuffed by the slightest gesture, withdrawing all too quickly if she thought she was in the way. The old stone-and-brick schoolhouse, with its four gabled roofs and round little windows, was the only thing that seemed steadfast to her, while the beings that populated its rooms and thundered down its corridors were unreal and unpredictable. It gripped her like a monstrous truth that she was condemned to lead life without belonging or feeling close to anyone.

As a new mom, your life changes overnight. Your priorities change, you forget to brush your teeth, you aren’t sure how you’re ever going to balance all your new responsibilities, and it’s overwhelming. Not to mention that your body that used to be almost purely recreational has become much like a dairy cow but not as delicate and petite.

We love the gentleness of certain gestures, the way a tree fits into a landscape. And we have only one detail with which to fit re-create all this love, but it will do: the smell of a room too long shut up, the special sound of a footstep on the road. This is the way it is for me. And if I loved then in giving myself, I finally became myself, since only love restores us.

Now, as I look around at a room filled not only with boxes but plenty of its own marks, I want to know the stories behind them. Or rather, a part of me wants to know those stories. The other part of me thinks that's the worst idea in the world, but I don't listen to that part. Ignorance may be bliss, but only if it outweighs curiosity. Curiosity is a gateway drug to sympathy, Da's warning echoes in my head, and I know; but there are no Histories here to feel sympathy for. Which is exactly why the Archive wouldn't approve. They don't approve of any form of recreational reading.

But all this was beside the point. What scared Amy was the mere fact of what looked inescapably like recreational malevolence. The poem had been written by an adult, not some teen with an unfinished brain. Whoever wrote the line bootlicker, sycophant, toady intended damage, understood how Carla would feel, how anybody would feel, being called such names. The line was playful, offhand, the poem itself a smug, imperious cat stretch. The writer was having fun. Amy had been comfortable in the same room with someone whose idea of fun this was.

Blakeley took Elwood through the front door and it was swiftly clear that outside was one thing and inside another. The warped floors creaked incessantly and the yellow walls were scuffed and scratched. Stuffing dribbled from the couches and armchairs in the recreation room. Initials and epithets marked the tables, gouged by a hundred mischievous hands. Elwood fixated on the housekeeping chores Harriet would have ticked off for his attention: the fuzzy haloes of finger grime around every cabinet latch and doorknob, the balls of dirt and hair in the corners.

Consider Ricky, a teenage boy with autism who was a talented pianist. Ricky once volunteered to entertain the residents of an assisted-living center. He had never visited such a facility, but his parents told him what a lovely, caring gesture it would be. They also informed him that some of the elderly people he would see had terminal illnesses and other challenges, so surely his music would help to lift their spirits. On the day of his performance, a few dozen residents gathered in a recreation room to listen. Before he sat down to play, Ricky introduced himself, said how happy he was to be there, and added this: “I’m very sorry that some of you are going to die soon.

Now, if anyone in this room or the world finds those two words decadent, obscene, immoral, amoral, asexual, the words 'to come' really make you feel uncomfortable, if you think I'm rank for saying it to you, you the beholder think it's rank for listening to it, you probably can't come. And then you're of no use, because that's the purpose of life, to re-create it.

When I’m given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person. When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones. I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that’s how I played the part. For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn’t but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious. By comparison, in Chekhov’s Ivanov I played the young doctor, Lvov. Lvov was described as “a prig and a bigot … uprightness in boots … tiresome … completely sincere”. His emotions were locked away. I worked around the key phrase: “Forgive me, I’m going to tell you plainly.” I practised speaking gravely and sincerely without emotion and I actually noticed how that carried over into my personal life: when I played the open-hearted Cassio, I felt really free; when I played the pent-up Lvov, I felt a real need to release myself from the shackles of that character. It’s exhilarating to act out the emotions of a character - it’s a bit like being a child again. You flex the same muscles that you did when you pretended to be a cowboy or a policeman: acting is a grown-up version of that with more subtlety and detail. You’re responding with real emotions to imaginary situations. When I’m in a production I never have a day when I haven’t laughed, cried or screamed. There are times when I wake up stiff from emotional exhaustion. Film is a much more intimate and thoughtful medium than theatre because of the proximity of the camera. The camera can read your thoughts. On stage, if you have a moment of vulnerability you can hide it from the other actors; on film, the camera will see you feel that emotion and try to suppress it. Similarly, if you’re pretending to feel something that isn’t there, it won’t be believable.

We sit here in silence, eating our lunch. But I know we are all here for the same reason. We’re all searching for a piece of home, or a piece of ourselves. We look for a taste of it in the food we order and the ingredients we buy. Then we separate. We bring the haul back to our dorm rooms or our suburban kitchens, and we re-create the dish that couldn’t be made without our journey.

We slip into a dream, forgetting the room we're sitting in, forgetting it's lunchtime or time to go to work. We recreate, with minor and for the most part unimportant changes, the vivid and continuous dream the writer worked out in his mind (revising and revising until he got it right) and captured in language so that other human beings, whenever they feel like it, may open his book and dream that dream again.

I can understand the ignorant masses loving to soak themselves in drink—oh, yes, it's very shocking that they should, of course—very shocking to us who live in cozy homes, with all the graces and pleasures of life around us, that the dwellers in damp cellars and windy attics should creep from their dens of misery into the warmth and glare of the public-house bar, and seek to float for a brief space away from their dull world upon a Lethe stream of gin. But think, before you hold up your hands in horror at their ill-living, what "life" for these wretched creatures really means. Picture the squalid misery of their brutish existence, dragged on from year to year in the narrow, noisome room where, huddled like vermin in sewers, they welter, and sicken, and sleep; where dirt-grimed children scream and fight and sluttish, shrill-voiced women cuff, and curse, and nag; where the street outside teems with roaring filth and the house around is a bedlam of riot and stench. Think what a sapless stick this fair flower of life must be to them, devoid of mind and soul. The horse in his stall scents the sweet hay and munches the ripe corn contentedly. The watch-dog in his kennel blinks at the grateful sun, dreams of a glorious chase over the dewy fields, and wakes with a yelp of gladness to greet a caressing hand. But the clod-like life of these human logs never knows one ray of light. From the hour when they crawl from their comfortless bed to the hour when they lounge back into it again they never live one moment of real life. Recreation, amusement, companionship, they know not the meaning of. Joy, sorrow, laughter, tears, love, friendship, longing, despair, are idle words to them. From the day when their baby eyes first look out upon their sordid world to the day when, with an oath, they close them forever and their bones are shoveled out of sight, they never warm to one touch of human sympathy, never thrill to a single thought, never start to a single hope. In the name of the God of mercy; let them pour the maddening liquor down their throats and feel for one brief moment that they live!

I was just beginning to wrap my mind around the way daily life unfolded here: wake up early, get your work done, eat, relax, and go to bed. Repeat daily. There wasn’t a calendar of events or dinner dates with friends in town or really much room for recreation--because that just meant double the work when you got back to work. It was hard for me not to wonder when any of these people ever went out and had a good time, or built a snowman. Or slept past 5:00 A.M.

Try to think of it as though we are rewriting history––the first time this experience occurred you and I never kissed in this Dream Machine room. But now when we leave here, and open our eyes again near the wall around the center of Constance, that kiss will be included in our memories of the day we first met. We could spend a lifetime recreating this moment here, meanwhile, not a single second of our lives would slip by back in our reality. Time seems to move differently inside of our memories.

As already suggested, when the individual first learns who it is that he must now accept a his own, he is likely, at the very least, to feel some ambivalence; for these others will not only be patently stigmatized, and thus not like the normal person he knows himself to be, but ma also have other attributes with which he finds it difficult to associate himself. What may end up as a freemasonry may begin with a shudder. A newly blind girl on a visit to The Lighthouse [probably the Chicago Lighthouse, one of the oldest social service agencies in Chicago serving the blind or visually impaired] directly from leaving the hospital provides an illustration: „My questions about a guide dog were politely turned aside. Another sighted worker took me in tow to show me around. We visited the Braille library; the classrooms; the clubrooms where the blind members of the music and dramatic groups meet; the recreation hall where on festive occasion the blind play together; the cafeteria, where all the blind gather to eat together; the huge workshops where the blind earn a subsistence income by making mops and brooms, weaving rugs, caning chairs. As we moved from room to room, I could hear the shuffling of feet, the muted voices, the tap-tap-tapping of canes. Here was the safe, segregated world of the sightless — a completely different world, I was assured by the social worker, from the one I had just left…. I was expected to join this world. To give up my profession and to earn my living making mops. The Lighthouse would be happy to teach me how to make mops. I was to spend the rest of my life making mops with other blind people, eating with other blind people, dancing with other blind people. I became nauseated with fear, as the picture grew in my mind. Never had I come upon such destructive segregation.“ (p.37)

Less is not known as a teacher, in the same way Melville was not known as a customs inspector. And yet both held the respective positions. Though he was once an endowed chair at Robert’s university, he has no formal training except the drunken, cigarette-filled evenings of his youth, when Robert’s friends gathered and yelled, taunted, and played games with words. As a result, Less feels uncomfortable lecturing. Instead, he re-creates those lost days with his students. Remembering those middle-aged men sitting with a bottle of whiskey, a Norton book of poetry, and scissors, he cuts up a paragraph of Lolita and has the young doctoral students reassemble the text as they desire. In these collages, Humbert Humbert becomes an addled old man rather than a diabolical one, mixing up cocktail ingredients and, instead of confronting the betrayed Charlotte Haze, going back for more ice. He gives them a page of Joyce and a bottle of Wite-Out—and Molly Bloom merely says “Yes.” A game to write a persuasive opening sentence for a book they have never read (this is difficult, as these diligent students have read everything) leads to a chilling start to Woolf’s The Waves: I was too far out in the ocean to hear the lifeguard shouting, “Shark! Shark!” Though the course features, curiously, neither vampires nor Frankenstein monsters, the students adore it. No one has given them scissors and glue sticks since they were in kindergarten. No one has ever asked them to translate a sentence from Carson McCullers (In the town there were two mutes, and they were always together) into German (In der Stadt gab es zwei Stumme, und sie waren immer zusammen) and pass it around the room, retranslating as they go, until it comes out as playground gibberish: In the bar there were two potatoes together, and they were trouble. What a relief for their hardworking lives. Do they learn anything about literature? Doubtful. But they learn to love language again, something that has faded like sex in a long marriage. Because of this, they learn to love their teacher.

But wait. My eyes are almost burned by what I see. There’s a bowl in front of me that wasn’t there before. A brown button bowl and in it some apricots, some small oranges, some nuts, cherries, a banana. The fruits, the colours, mesmerize me in a quiet rapture that spins through my head. I am entranced by colour. I lift an orange into the flat filthy palm of my hand and feel and smell and lick it. The colour orange, the colour, the colour, my God the colour orange. Before me is a feast of colour. I feel myself begin to dance, slowly, I am intoxicated by colour. I feel the colour in a quiet somnambulant rage. Such wonder, such absolute wonder in such an insignificant fruit. I cannot. I will not eat this fruit. I sit in quiet joy, so complete, beyond the meaning of joy. My soul finds its own completeness in that bowl of colour. The forms of each fruit. The shape and curl and bend all so rich, so perfect. I want to bow before it. Loving that blazing, roaring, orange colour ... Everything meeting in a moment of colour and form, my rapture no longer abstract euphoria. It is there in that tiny bowl, the world recreated in that broken bowl. I feel the smell of each fruit leaping into me and lifting me and carrying me away. I am drunk with something that I understand but cannot explain. I am filled with a sense of love. I am filled and satiated by it. What I have waited and longed for has without my knowing come to me, and taken all of me. For days I sit in a kind of dreamy lethargy, in part contemplation and in part worship. The walls seem to be singing. I focus all of my attention on the bowl of fruit. At times I fondle the fruits, at times I rearrange them, but I cannot eat them. I cannot hold the ecstasy of the moment and its passionate intensity. It seems to drift slowly from me as the place in which I am being held comes back to remind me of where I am and of my condition. But my containment does not oppress me. I sit and look at the walls but now this room seems so expansive, it seems I can push the walls away from me. I can reach out and touch them from where I sit and yet they are so far from me.

It often happens that the pleasure that everyone takes in recalling his store of remembered scenes is more intense, for example, in those who on the one hand are prevented by the tyranny of physical illness and the hope of a cure from seeking in nature pictures which resemble their memories, but on the other can still hope that they will soon be able to do so, so that their attitude toward these scenes remains one of desire, of appetite, and they do not consider them simply as scenes, as pictures. But even if they could have remained mere pictures for me; if, recalling them, I could simply have gazed upon them, they still immediately recreated in me, in my whole being, by the power of an identical sensation, the child, the adolescent who had first seen them. It was not just the weather outside that had changed, or the smells in my room, but inside me there was a change of age, the replacement of one person by another. The smell of the twigs in the icy air was like a piece of the past, an invisible ice-floe broken off from a distant winter and floating into my room, striated here and there with a perfume or a light as if by different years into which I found myself plunged once again, swept away even before I had recognized them by the light-heartedness of hopes long since abandoned.

I find it wholesome to be alone the greater part of the time. To be in company, even with the best, is soon wearisome and dissipating. I love to be alone. I never found the companion that was so companionable as solitude. We are for the most part more lonely when we go abroad among men than when we stay in our chambers. A man thinking or working is always alone, let him be where he will. Solitude is not measured by the miles of space that intervene between a man and his fellows. The really diligent student in one of the crowded hives of Cambridge College is as solitary as a dervish in the desert. The farmer can work alone in the field or the woods all day, hoeing or chopping, and not feel lonesome, because he is employed; but when he comes home at night he cannot sit down in a room alone, at the mercy of his thoughts, but must be where he can “see the folks,” and recreate, and, as he thinks, remunerate himself for his day’s solitude; and hence he wonders how the student can sit alone in the house all night and most of the day without ennui and “the blues”; but he does not realize that the student, though in the house, is still at work in his field, and chopping in his woods, as the farmer in his, and in turn seeks the same recreation and society that the latter does, though it may be a more condensed form of it.

I stood next to Breeze in a small quartz room. A sea lantern served as the only light source, bathing the room in its pale blue light. Against the center of one wall stood a mysterious object. It was three meters tall, three meters wide, and flat, like a banner. However, instead of dyed wool was a surface like the calmest pool of water. Breeze reached out with her right hand. Her fingers touched those of her reflection. After she lowered her arm, we continued staring at ourselves in silence. In awe. It was the first time we'd seen ourselves this way. But more than that were our outfits. Our clothes were made of spider silk, a type of cloth crafted using spider string. Puddles, the owner of the Clothing Castle, had worked with the humans for days to craft perfect recreations of Earth fashion. Then, to make us look even more majestic, our cloaks had been modified to fall over our shoulders. Poster children. Symbols of hope. Villagetown's biggest stars. That's what we've become. Some say it's sweet: a budding romance between two young heroes fighting valiantly against all odds. I'd say that's an exaggeration. Although Breeze and I are close, we haven't had much time for anything beyond battle or preparing for the next. I guess the mayor wants to change that, though. The people need something to believe in, he says. I suppose that's why he whisked us away in

Filming was done outside San Antonio, Texas. The scale of the production was vast and complex. Whole battlefields were scrupulously re-created on the plains of Texas. Wellman deployed as many as five thousand extras and sixty airplanes in some scenes—an enormous logistical exercise. The army sent its best aviators from Selfridge Field in Michigan—the very men with whom Lindbergh had just flown to Ottawa—and stunt fliers were used for the more dangerous scenes. Wellman asked a lot of his airmen. One pilot was killed, another broke his neck, and several more sustained other serious injuries. Wellman did some of the more dangerous stunt flying himself. All this gave the movie’s aerial scenes a realism and immediacy that many found almost literally breathtaking. Wellman captured features of flight that had never been caught on film before—the shadows of planes moving across the earth, the sensation of flying through drifting smoke, the stately fall of bombs, and the destructive puffs of impact that follow. Even the land-bound scenes were filmed with a thoughtfulness and originality that set Wings apart. To bring the viewer into a Parisian nightclub, Wellman used a boom shot in which the camera traveled through the room just above table height, skimming over drinks and between revelers, before arriving at the table of Arlen and Rogers. It is an entrancing shot even now, but it was rivetingly novel in 1927. “Wings,” wrote Penelope Gilliatt simply in The New Yorker in 1971, “is truly beautiful.” Wings was selected as best picture at the very first Academy Awards ceremony in 1929. Wellman, however, wasn’t even invited to the ceremony.

Dr. Knox Todd began documenting how patients’ race affects the treatment of pain when he was a doctor in the UCLA Emergency Center in the 1990s.46 He and colleagues examined the way doctors treated 139 white and Latino patients coming to the emergency room over a two-year period with a single injury—fractures of a long bone in either the arm or leg. Because this type of fracture is extremely painful, there is no medical reason to distinguish between the two groups of patients. Yet the researchers discovered that Latinos were twice as likely as whites to receive no pain medication while in the emergency room.47 Although it’s possible that the Latino patients complained less of pain, the doctors should have been aware of the high degree of pain they suffered, given the nature of their injuries. When Todd moved to Emory University School of Medicine, he led an Atlanta-based study that confirmed his finding in Los Angeles. This time his research team analyzed medical charts of 217 patients who were treated for long-bone fractures at an inner-city emergency room that served both black and white patients. In a 2000 article in Annals of Emergency Medicine, Todd reported that 43 percent of blacks, but only 26 percent of whites, received no pain medication. In this study, Todd took the additional step of documenting whether or not the patients expressed pain to their doctors. By carefully looking at notations in the medical files, he found that black patients were about as likely as whites to complain of pain. Black patients thus received pain medication half as often as whites because doctors did not order it for them, not because blacks do not feel pain or do not want pain relief.

Write about an empty birdcage" Write about an empty birdcage. As in: write about your ribcage after robbery. Use negative space to wind a song from the place on the dresser where a music box isn’t. Write about the corners where the two of you used to meet. Draw the intersections, arrow to the sidewalk where her shoes aren’t near yours. Write about an empty birdcage. As in: write about a hinged-open jaw that is neither sigh nor scream. Use this to signify EXIT. Make sure to describe the teeth, the glint of metal deep down in the molars, the smell of breath after lack of water. Make sure to draw this mouth a thirsty and human portrait of what it means to be used up. Write about voice by writing about how it feels when it’s painful to swallow. If you must put noise in the scene make it the sound of bird wings flapping in a cardboard box. Show us an empty cage and give us the sound of confinement. Take hope and fold it small as seed, then suck on it. Slow and selfish. Write about an empty birdcage. Birdcage can read: building, structure, abandoned or adorned. As in: loop and tighten a vine of nostalgia around the room you currently brick yourself into. Recreate the sweet of jasmine, but mortar the door so it will not seep through. Write about an empty birdcage. Replay us the scene. As in: she presses her pale cheek against the window, as he turns his pinstriped back, slow and final. Again. She presses her pale cheek against the window, and he turns his pinstriped back, slow and final. Again. She presses her pale cheek against the window, as he turns his pinstriped back, slow and final. Again. She presses her her pale cheek against the window, as he turns his pinstriped back, slow and final. Write about an empty birdcage. Write about the hinges. Describe them as dry knuckles. Write how I became a moan.

My cold-weather gear left a lot to be desired: black maternity leggings under boot-cut maternity jeans, and a couple of Marlboro Man’s white T-shirts under an extra-large ASU sweatshirt. I was so happy to have something warm to wear that I didn’t even care that I was wearing the letters of my Pac-10 rival. Add Marlboro Man’s old lumberjack cap and mud boots that were four sizes too big and I was on my way to being a complete beauty queen. I seriously didn’t know how Marlboro Man would be able to keep his hands off of me. If I caught a glimpse of myself in the reflection of the feed truck, I’d shiver violently. But really, when it came right down to it, I didn’t care. No matter what I looked like, it just didn’t feel right sending Marlboro Man into the cold, lonely world day after day. Even though I was new at marriage, I still sensed that somehow--whether because of biology or societal conditioning or religious mandate or the position of the moon--it was I who was to be the cushion between Marlboro Man and the cruel, hard world. That it was I who’d needed to dust off his shoulders every day. And though he didn’t say it, I could tell that he felt better when I was bouncing along, chubby and carrying his child, in his feed truck next to him. Occasionally I’d hop out of the pickup and open gates. Other times he’d hop out and open them. Sometimes I’d drive while he threw hay off the back of the vehicles. Sometimes I’d get stuck and he’d say shit. Sometimes we’d just sit in silence, shivering as the vehicle doors opened and closed. Other times we’d engage in serious conversation or stop and make out in the snow. All the while, our gestating baby rested in the warmth of my body, blissfully unaware of all the work that awaited him on this ranch where his dad had grown up. As I accompanied Marlboro Man on those long, frigid mornings of work, I wondered if our child would ever know the fun of sledding on a golf course hill…or any hill, for that matter. I’d lived on the ranch for five months and didn’t remember ever hearing about anyone sledding…or playing golf…or participating in any recreational activities at all. I was just beginning to wrap my mind around the way daily life unfolded here: wake up early, get your work done, eat, relax, and go to bed. Repeat daily. There wasn’t a calendar of events or dinner dates with friends in town or really much room for recreation--because that just meant double the work when you got back to work. It was hard for me not to wonder when any of these people ever went out and had a good time, or built a snowman. Or slept past 5:00 A.M.

NOTE: Practice your most effective relaxation techniques before you begin these exercises (refer to Chapter 6 if necessary). People are better able to concentrate when they are relaxed. Listening -Pay attention to the sounds coming from outside: from the street, from above in the air, from as far away as possible. Then focus on one sound only. -Pay attention to the sounds coming from a nearby room—the kitchen, living room, etc. Identify each one, then focus on a single sound. -Pay attention to the sounds coming from the room you are in: the windows, the electrical appliances. Then focus on one sound only. -Listen to your breathing. -Hear a short tune and attempt to re-create it. -Listen to a sound, such as a ringing doorbell, a knock on the door, a telephone ringing, or a siren. How does it make you feel? -Listen to a voice on the telephone. Really focus on it. -Listen to the voices of family members, colleagues, or fellow students, paying close attention to their intonation, pacing, and accent. What mood are they conveying? Looking -Look around the room and differentiate colors or patterns, such as straight lines, circles, and squares. -Look at the architecture of the room. Now close your eyes. Can you describe it? Could you draw it? -Look at one object in the room: chair, desk, chest of drawers, whatever. Close your eyes and try to picture the shape, the material, and the colors. -Notice any changes in your environment at home, at school, or in your workplace. -Look at magazine photos and try to guess what emotions the subjects’ expressions show. -Observe the effect of light around you. How does it change shapes? Expressions? Moods? Touching -When shaking a person’s hand, notice the temperature of the hand. Then notice the temperature of your own hand. -Hold an object in your hands, such as a cup of coffee, a brick, a tennis ball, or anything else that is available. Then put it down. Close your eyes and remember the shape, size, and texture of the object. -Feel different objects and then, with your eyes closed, touch them again. Be aware of how the sensations change. -Explore different textures and surfaces with your eyes first open and then closed. Smelling and Tasting -Be aware of the smells around you; come up with words to describe them. -Try to remember the taste of a special meal that you enjoyed in the past. Use words to describe the flavors—not just the names of the dishes. -Search your memory for important smells or tastes. -Think of places with a strong tie to smell. These sensory exercises are an excellent way to boost your awareness and increase your ability to concentrate. What is learned in the fullest way—using all five senses—is unlikely to be forgotten. As you learn concentration, you will find that you are able to be more in tune with what is going on around you in a social situation, which in turn allows you to interact more fully.

THE VISION EXERCISE Create your future from your future, not your past. WERNER ERHARD Erhard Founder of EST training and the Landmark Forum The following exercise is designed to help you clarify your vision. Start by putting on some relaxing music and sitting quietly in a comfortable environment where you won’t be disturbed. Then, close your eyes and ask your subconscious mind to give you images of what your ideal life would look like if you could have it exactly the way you want it, in each of the following categories: 1. First, focus on the financial area of your life. What is your ideal annual income and monthly cash flow? How much money do you have in savings and investments? What is your total net worth? Next . . . what does your home look like? Where is it located? Does it have a view? What kind of yard and landscaping does it have? Is there a pool or a stable for horses? What does the furniture look like? Are there paintings hanging in the rooms? Walk through your perfect house, filling in all of the details. At this point, don’t worry about how you’ll get that house. Don’t sabotage yourself by saying, “I can’t live in Malibu because I don’t make enough money.” Once you give your mind’s eye the picture, your mind will solve the “not enough money” challenge. Next, visualize what kind of car you are driving and any other important possessions your finances have provided. 2. Next, visualize your ideal job or career. Where are you working? What are you doing? With whom are you working? What kind of clients or customers do you have? What is your compensation like? Is it your own business? 3. Then, focus on your free time, your recreation time. What are you doing with your family and friends in the free time you’ve created for yourself? What hobbies are you pursuing? What kinds of vacations do you take? What do you do for fun? 4. Next, what is your ideal vision of your body and your physical health? Are you free of all disease? Are you pain free? How long do you live? Are you open, relaxed, in an ecstatic state of bliss all day long? Are you full of vitality? Are you flexible as well as strong? Do you exercise, eat good food, and drink lots of water? How much do you weigh? 5. Then, move on to your ideal vision of your relationships with your family and friends. What is your relationship with your spouse and family like? Who are your friends? What do those friendships feel like? Are those relationships loving, supportive, empowering? What kinds of things do you do together? 6. What about the personal arena of your life? Do you see yourself going back to school, getting training, attending personal growth workshops, seeking therapy for a past hurt, or growing spiritually? Do you meditate or go on spiritual retreats with your church? Do you want to learn to play an instrument or write your autobiography? Do you want to run a marathon or take an art class? Do you want to travel to other countries? 7. Finally, focus on the community you’ve chosen to live in. What does it look like when it is operating perfectly? What kinds of community activities take place there? What charitable, philanthropic, or volunteer work? What do you do to help others and make a difference? How often do you participate in these activities? Who are you helping? You can write down your answers as you go, or you can do the whole exercise first and then open your eyes and write them down. In either case, make sure you capture everything in writing as soon as you complete the exercise. Every day, review the vision you have written down. This will keep your conscious and subconscious minds focused on your vision, and as you apply the other principles in this book, you will begin to manifest all the different aspects of your vision.

When I got done, I'm looking at these two floppies that look just the same. And I decided that I might have written onto the good one from the bad, and I did. So I had lost it all. I went back to my hotel room. I slept for a while. I got up about 10:00 a.m. or so. I sat down and, out of my head and my listings, recreated everything, got it working again, and we showed it at the show.

While our home life was humble compared with that of my wealthier friends, vacations were utopian. Where our house was marked by grim darkness and a shag pea green family room carpet, for me, vacations meant sunshine and pools, fresh pineapple, platters of breakfast room service, and chance encounters with other kids. As children, we had such beautiful vacations that it became my life’s pleasure to try to re-create them. To this day, a good hotel is still what I think of as the highest luxury.

It is true that illness is an experience that tests you and forces you to rebuild your life. The destruction it wreaks makes room for re-creation. As Arthur Frank puts it in The Wounded Storyteller, "Unmaking can be a generative process; what is unmade stands to be remade." But I had read too many letters and diaries written by suffering people to feel sanguine about healthy friends focusing on the "spiritual growth" illness brings with it. There is razor-thin line between trying to find something usefully redemptive in illness and lying to ourselves about the nature of suffering. Until we mourn what is lost in illness -- and until we have a medical community that tales seriously the suffering of patients -- we should not celebrate what is gained in it.

If I have learned anything in this life, it is that there is far more going on in this universe than I could possibly understand. With this understanding, I do my best to always allow room for possibility that exists outside of what I already know, and for possibility that exists beyond my current belief systems. The possibility exists that what sits in front of me in this moment has the potential to take my entire worldview and flip it upside down to the point that everything I think I know would no longer be relevant, and I would have to recreate from scratch my understanding of the universe and how it functions. This can be a bit intimidating, but it is also incredibly exciting and, most of all, powerful.

Andrei avoided the internet as well and this evasion only added to his gloom. He loved music, especially old songs, and he loved movies, of all sorts. If he had the patience, sometimes he would read. While most of the pages he turned bored him to sleep, certain books with certain lines disarranged him. Some literature brought him to his feet, laughing and howling in his room. When the book was right, it was bliss and he wept. His room hushed with serenity and indebtedness. When he turned to his computer, however, or took out his phone, he would inevitably come across a viral trend or video that took the art he loved and turned it into a joke. The internet, in Andrei’s desperate eyes, managed to make fun of everything serious. And if one did not laugh, they were not intelligent. The internet could not be slowed and no protest to criticize its exploitation of art could be made because recreations of art hid perfectly under the veneer of mockery and was thus, impenetrable. It was easy to use Chopin’s ‘Sonata No. 2’ for a quick laugh, to reduce the ‘Funeral March’ to background music. It was a sneaky way for a digital creator to be considered an artist—and parodying the classics made them appear cleverer than the original artist. Meanwhile, Andrei’s body had healed playing Chopin alone in his apartment. He would frailly replay movie moments, too, that he later found the world edited and ripped apart with its cheap teeth. And everyone ate the internet’s crumbs. This cruel derision was impossible to escape. But enough jokes, memes, and glam over someone’s precious source of life would eventually make a sensitive body numb. And Andrei was afraid of that. He needed his fountain of hope unblemished. For this reason, he escaped the internet’s claws and only surrendered to it for e-mails, navigation, and the weather.

Instead, the shelves lining the walls are now filled with Xavier’s extensive collection of sourdough starters. Much of the time, the jars are out in the world with him—hanging out in the living room, getting some sun out in the yard, traveling back and forth between Harlan and Sherwood. After a while, the young starters mature and get dehydrated so they can be stored for longer. But when they aren’t having recreation time with Xavier, in the kitchen being used for recipes, or stashed in powder form, they hang out here. And apparently, now they have a new wardrobe.

Kids are one of natural most perfect learning devices. With just a little knowing, a kid can be activated and kept content. Starting early in your kid's growth can do wonderful factors for their psychological growth in later years, and provides them a large boost over other kids their age. Comprehend youngsters are designed to comprehend. Regular actions, such as offering, diapering, enjoying, executing, going for a generate in the child baby stroller, and getting bears from Grandpa are all "educational". You do not need to do synthetic actions or extremely concentrate on "educational activities" for a kid to succeed. Care for the kid. A kid needs a full belly, a dry diaper, a comfortable atmosphere, and really like for the best possible growth. Discuss to the kid. Provide a "play by play" of what you're doing (making a cup of tea, modifying a diaper, confirming the email box. Take part in kid talk; it's designed to stimulate a kid. Read a book together. Increase and massage. Kids really like to move their systems. Learn kid massage and kid yoga exercise exercises, which help comfortable, revitalize, and stimulate. But simply shifting the kid in a way he or she likes (like clapping arms, wearing coming back and forth, "So Big!") is outstanding work out, and properly rubbing kid down with kid massage oil is outstanding for sensitive growth. Acquire a execute gym or action gym. These are generally a company recommended with children from child up to about 12 months. They mostly come in the form of comfortable, quilted or properly cushioning execute shields, sometimes raised at the edges with a space in the center for kid. They can include detachable, holding locations for small children to try to comprehend. They usually have locations that are crinkle, smooth, scrunchy styles for kid to touch, media and action. Some come with bright dazzling illumination and alarm systems and others make insane seems to be, or musical show show seems to be, and some even do both. Look around. Kids are fascinated by factors grownups take for granted: Automobiles visiting outside the screen, tanks, vegetation provided by the wind, failing outfits in the outfits clothing dryer. Go outside A child baby stroller generate can be very interesting, going to uncommon new locations like the mailing service, bakery, recreation area, and so on.Drive your car, which has best car accessories, and go for a have a eat outside. Perform to the kid. Perform child's room music, TV jingles, your popular.Play with the kid. Conventional activities like "Peek-A-Boo" or cheap baby toys, the hug the kid's belly, shifting a football coming back and forth on are outstanding kid actions. Dance with the kid in your arms.

Other perks of working for Disney are primarily in the form of discounts. The money I’ve saved through Disney discounts is unbelievable. I remember working at Staples and being excited when they finally gave us a 10% discount, which is nothing compared to what Disney offers. I got up to 60% off hotel rooms, 20-40% off merchandise, 20-40% off dining, a variety of discounts on Disney recreational offerings, 20% off quick service meals at Animal Kingdom and the resorts, and a holiday coupon book which included 30%, 40%, and 50% off meal coupons, free popcorn and soda coupons, free PhotoPass downloads, free rounds of mini golf, and extra park tickets.

As she passed the recreation room, she saw Mr. Preston, still sitting quietly in his chair, a blanket over his knees. “Are you okay?” she asked. “Fine thanks. Just gonna sit here a little longer, then I’ll head up.” She sat beside him, sharing the silence. “That friend of yours is a good sort,” he finally said. “Nice of him to stop in and say goodbye before going home to his folks.” “He did?” “Ayuh.” “What did he say?” The old man never turned his head to look at her, but the faintest of smiles touched his lips and he sat up a bit straighter in his chair. “He shook my hand and said, ‘Thank you for your service.’ Then he saluted me and left.” Jess felt tears prick her eyes, seeing how very much the gesture had touched this proud, quiet old man. Tanner hadn’t been happy when he’d left here, she knew that, yet he’d taken the time to reach out a hand in friendship and brotherhood to this complete stranger. What a good man. What an amazingly wonderful man. She’d found him twice in her life. Once she’d lost him due to fate and war and bad timing. This time, she’d let him slip right through her fingers. That was a mistake she could rectify. It wasn’t too late. She wouldn’t let it be.

No, this was Bernhard Langer, a great many years ago. His golf ball was between a cart path and some bushes. It was not touching the cart path and was quite close to the bushes. In fact it was so close to the bushes that he could not take a proper stance if he played the shot his natural hand, right-handed. So, he decided to play the shot left-handed, which is his right. Or is it left? Anyway, to play the shot left-handed he would have to stand on the cart path. He argued, successfully, that as he would have to stand on the cart path he was entitled to relief. And, he got it. Once relief was taken, he now had room to hit the ball right-handed. Which he did. Remember, the rules will screw you if you let them, so know them well and you can get some shots back.  

In 1944 the Confrérie established the Château du Clos de Vougeot as their headquarters, restoring it and in fact improving upon its former austerity, creating luxurious banquet rooms where monks had once lived in spartan simplicity. (In the monks’ former dining room, re-created as part of the château’s museum, long wooden tables, benches, and a pulpit hinted at their austere lifestyle; one brother would read passages from the Bible as the others ate gruel in enforced silence.)

I ventured into the dimly lit darkness towards the blaring disco music and crowded dance floor. The enclosure reeked of poppers (alkyl nitrites), a recreational drug often used by gay men to heighten their sexual arousal. The club was hopping with the latest disco hits from the popular disco queen of 70s, Donna Summer. Half-naked and almost naked men were crowding the dance floor, grinding their perspiring bodies against each other in a sensual and sexual trancelike state. Men in various stages of foreplay were gyrating their muscular and sinewy bodies against each other in preparation for impulsive back-room romps. After taking to the dance floor for a couple of songs, I embarked on an exploration journey towards the back of the house. It was difficult to make out the abundance of naked bodies loathering in the dark in various stages of copulation. When I ventured into a large room with a sling in the middle, I heard a familiar, high-pitched groaning voice. It was a voice I had heard several years ago in class at the Bahriji School. It was a soprano voice that I could never get out of my head. Surrounding the voice was a queue of mesomorphically built men, waiting their turn to satisfy their sexual desires on an equally muscular hunk lying on the suspended, swinging sling. The man’s legs were spread above his torso. They were strapped to either sides of the hanging chains and so were his wrists, tied securely above his head. Although the ‘bottom’ was blindfolded with a black kerchief, I instantly recognized him as none other than the famous supermodel, Rick Samuels.

time. A new interdisciplinary community of scientists, environmentalists, health researchers, therapists, and artists is coalescing around an idea: neuroconservation. Embracing the notion that we treasure what we love, those concerned with water and the future of the planet now suggest that, as we understand our emotional well-being and its relationship to water, we are more motivated to repair, restore, and renew waterways and watersheds. Indeed, even as water is threatened, or perhaps because of the threat, public interest in water is very high. We treasure it—or, perhaps more accurately, we spend our treasure to access water for pleasure, recreation, and healing. Wealthy people pay a premium for houses on water, and the not so wealthy pay extra for rentals and hotel rooms sited at the oceanfront, on rivers, or at lakes. Those into outdoor sports, especially fishers and hunters, are fiercely protective of it and have founded numerous environmental organizations designed to protect water habitats for fish, birds, and animals. Over the last two decades, spas have become a sort of modern equivalent to ancient healing wells. As an industry, spas are a global business worth about $60 billion, and they generate another $200 billion in tourism. In 2013, there were 20,000 (up from 4,000 in 1999) spas in the United States producing an annual revenue of over $14 billion (a figure that has grown every year for fifteen years, including those of the recession), and tallying 164 million spa visits by clients.12 Ecotourism provides water adventures and guided trips, often in kayaks, rafts, or canoes. Ocean and river cruises are big business. Cities are creating urban architectures focused on waterscapes, happiness, and sustainability. Museums and public memorials of all sorts often feature water to foster reflection and meditation. And many communities are working to transform industrialized and polluted waterfronts into spaces that are pleasant, environmentally sound, and livable.

he lured the last five children into the recreation room on the lower level and bludgeoned them into unconsciousness with a crowbar. After he tortured them until they died, he chopped them up, placed the pieces in heavy-duty garbage bags, and pitched them over the side of the patio retaining wall into the ocean.

The Golden West Hotel was unique in that it was owned, operated, and exclusively patronized by black people in Oregon. It was the only place that black people from out of town could rent a room, and it was the central hub of black entertainment, recreation, and dining in Portland. First opened in 1906, Portland authorities continually tried to shut down the place on trumped up charges of prostitution, gambling, and later for not having the “proper licenses.” When the owners of the Golden West were forced to plea for their license back in 1921 they “pointed out that the hotel and club was practically the only place in the city where negroes could congregate.” Renting a room or patronizing the Golden West’s many businesses on the first floor didn’t mean that you would live without harassment from Portland’s white population. But it did prove to be one of the few places in the city outside of church where black people could find a sense of community.

the meditation room in back. The main room has shelves of books on mysticism, spirituality, metaphysics, philosophy, Eastern religion, illustrated sex texts, mind-expansion through drugs; separate stands for the bestselling quarterly Psychedelic Review, hardcover and paperback volumes of Timothy Leary’s The Psychedelic Experience, and Aldous Huxley’s The Doors of Perception; long glass cabinets and lacquered burl tables stocked with recreational drug paraphernalia; bins of bootlegged tapes from the Dead, Hendrix, Cream, Jefferson Airplane, the Beatles, and Dylan; potted plants growing lush throughout—ferns, ficus, creeping Charlie, and philodendron.

Soon, with the help of Lisl Popper and visits to Peter Jones, he had once again recreated the distinctive Fleming décor – part gentleman’s club, part ship’s cabin. The old photographs of Ian at Eton, the hero of the school sports, went up in the drawing-room, and his pretty Austrian housekeeper agreed to accompany him to his new flat. Robert Harling, knowing Ian’s innocent craving for roots, chipped in playfully with an enormous coat of arms which Ian placed at the end of a corridor with a spotlight trained on it.

Make your vacation luxurious and memorable. Luxury Camping in Rishikesh is the greatest alternative for those who seek "Adventure with Luxury," that is, luxurious facilities and services in the camping site. Beach camps and jungle camps are not the same as luxury camps. These are located in a specific place that is around 1.5 kilometres from the river and jungle. These are built differently than the other camping areas. These can be found in the bush or along a river, but never on a river's bank. A luxurious camp is built on a good frame with a nylon basic structure and textiles (safari tents). Wildlife and adventure enthusiasts flock to Rishikesh for luxury camping.from all over the world. Rishikesh Luxury Camping not only gives sufficient possibilities for wildlife and nature lovers, but also allows visitors to participate in recreational activities. In the heart of the jungle, luxury camping in Rishikesh provides all of the comforts of home. Luxury camps include an attached bathroom, handheld shower, continuous running water, room service, a mirror in the tent, luxurious Swiss tents with carpeted floors, music, a toe chair, and one table inside the tent, and luxury Swiss tents with carpeted floors, bonfires, and one table inside the tent. Rishikesh offers luxury camping as well as rappelling, trekking, bird watching, rock climbing, and a variety of other activities. Wildlife excursions can also be enjoyed, making the journey even more enjoyable and bringing you closer to nature.

ورغم أنه لم يَخلع بعد ملابس العمل، إلا أنه رافقهم بكل ثقة حامِلًا معه أوراق التعريف، وهوية نقابة الأطباء، وقبل مغادرته التفت إليها وأخبرها بأنه سيُحقق لها وعوده، والتي منها: الرحلات الترفيهية، وهدايا الألعاب، وطمأنها هي وبقية عائلته، ورافق أولئك الرجال الذين كانوا يرتدون الأقنعة السوداء! وتحدثوا معه في الغرفة الأخرى بصوت مُنخَفِض! ثم مضوا به إلى مكان مجهول! Although he had not yet removed his work clothes, he confidently accompanied them, holding his ID and the Medical Syndicate ID. Before egressing, he turned to her and told her that he would fulfil his promises to her, including recreational trips and gifts of toys. And then he reassured her and the rest of his family. Afterwards, he accompanied the police officers who were wearing black masks. They spoke to him lowly in the other room; then they took him to an unknown place!

We sit here in silence, eating our lunch. But I know we are all here for the same reason. We’re all searching for a piece of home, or a piece of ourselves. We look for a taste of it in the food we order and the ingredients we buy. Then we separate. We bring the haul back to our dorm rooms or our suburban kitchens, and we re-create the dish that couldn’t be made without our journey. What we’re looking for isn’t available at a Trader Joe’s. H Mart is where your people gather under one odorous roof, full of faith that they’ll find something they can’t find anywhere else. In

There is a time to- Rejoice.. Rethink.. Recorrect Rebuild Rearrange Reassemble Rekindle Replenish & Rejuvenate Re-Create the time and space for Relive and Revive, Leave no room for regrets and rebels!

I enjoy my Picassos,” he says with a glint in his eye, “and, unlike some, I have never had to sell to pay the fines.” I ask about his recreational interests and for once he looks uncertain. His eyes scan the room for inspiration, or perhaps help from his PR adviser. His gaze eventually rests on a landscape painting. “I shoot sheep,” he declares darkly. With that he stands up, baring his teeth in a maniacal grin. “I really have taken up far too much of your time.” He leaves before the bill arrives. When it comes, like many former clients, I am left grappling with the awful financial consequences of my encounter with the Greedspin banker.

ورغم أنه لم يَخلع بعد ملابس العمل، إلا أنه رافقهم بكل ثقة حامِلًا معه أوراق التعريف، وهوية نقابة الأطباء، وقبل مغادرته التفت إليها وأخبرها بأنه سيُحقق لها وعوده، والتي منها: الرحلات الترفيهية، وهدايا الألعاب، وطمأنها هي وبقية عائلته، ورافق أولئك الرجال الذين كانوا يرتدون الأقنعة السوداء! وتحدثوا معه في الغرفة الأخرى بصوت مُنخَفِض! ثم مضوا به إلى مكان مجهول! Although he had not yet removed his work clothes, he confidently accompanied them, holding his ID and the Medical Syndicate ID. Before egressing, he turned to her and told her that he would fulfil his promises to her, including recreational trips and gifts of toys. And then he reassured her and the rest of his family. Afterwards, he accompanied the police officers who were wearing black masks. They spoke to him lowly in the other room; then they took him to an unknown place!

His gaze dropped to the studio bed: still half-unmade. On the undisturbed half, nearest the wall, there stretched out a long, colorful scatter of magazines, science-fiction paperbacks, a few hardcover detective novels still in their wrappers, a few bright napkins taken home from restaurants, and a half-dozen of those shiny little Golden Guides and Knowledge Through Color books—his recreational reading as opposed to his working materials and references arranged on the coffee table beside the bed. They'd been his chief—almost his sole—companions during the three years he'd laid sodden there stupidly goggling at the TV across the room; but always fingering them and stupefiedly studying their bright, easy pages from time to time. Only a month ago it had suddenly occurred to him that their gay casual scatter added up to a slender, carefree woman lying beside him on top of the covers—that was why he never put them on the floor; why he contented himself with half the bed; why he unconsciously arranged them in a female form with long, long legs. They were a "scholar's mistress," he decided, on the analogy of "Dutch wife," that long, slender bolster sleepers clutch to soak up sweat in tropical countries—a very secret playmate, a dashing but studious call girl, a slim, incestuous sister, eternal comrade of his writing work.

His gaze dropped to the studio bed: still half-unmade. On the undisturbed half, nearest the wall, there stretched out a long, colorful scatter of magazines, science-fiction paperbacks, a few hardcover detective novels still in their wrappers, a few bright napkins taken home from restaurants, and a half-dozen of those shiny little golden Guides and Knowledge Through Color books—his recreational reading as opposed to his working materials and references arranged on the coffee table beside the bed. They'd been his chief—almost his sole—companions during the three years he'd laid sodden there stupidly goggling at the TV across the room; but always fingering them and stupefiedly studying their bright, easy pages from time to time. Only a month ago it had suddenly occurred to him that their gay casual scatter added up to a slender, carefree woman lying beside him on top of the covers—that was why he never put them on the floor; why he contented himself with half the bed; why he unconsciously arranged them in a female form with long, long legs. They were a "scholar's mistress," he decided, on the analogy of "Dutch wife," that long, slender bolster sleepers clutch to soak up sweat in tropical countries—a very secret playmate, a dashing but studious call girl, a slim, incestuous sister, eternal comrade of his writing work.

Our family is specific, because we are specific people. We did not use a blueprint created by someone else and then struggle to fit each of us inside. We create and re-create our family again and again—from the inside of each one of us—out. We will continue to do that forever, so each of us will always have room to grow and grow and still belong. That is what family is to me: where we are both held and free.

No problem,” muttered Mr. Raymo, waiting for the door to the secret passageway to glide shut. When Kyle was absolutely certain that the Krinkle brothers wouldn’t follow Mr. Raymo into the Rotunda Reading Room, he popped up and waved. “Mr. Keeley!” whispered Mr. Raymo. “Did you create the error code in Abraham Lincoln’s software?” “It was a group effort,” Kyle answered modestly. “But, yeah, that was us. We need to ask you a question.” “Please hurry,” said Mr. Raymo, looking over his shoulder. “If the brothers catch you kids…” “Mr. Raymo,” said Kyle, “can you use your Nonfictionator to replicate anybody saying anything?” “Yes. But I prefer to have the characters generated by the device speak with historical accuracy. That is why those of us on the Nonfictionator team have put such a high premium on proper research.” “But,” said Kyle, “if we did the research and gave you the audio and visual data you needed to create a truthful, honest representation of someone, or two someones…” “Then I can easily re-create that person or persons in holographic form,” said Mr. Raymo. “It’s also extremely helpful if an audio recording exists of the subject. For instance, I am quite confident that we have correctly captured Michael Jordan’s authentic voice, since we had primary source material to work with. Abraham Lincoln, on the other hand, sounds like Daniel Day-Lewis from the movie.

Trendle wanted to show that a political system could be riddled with corruption and that one man could successfully combat this white-collar lawlessness. He was entranced with the sound of a bee and wanted to incorporate that into the show. Osgood relates many experiments that soundmen were put through, trying to re-create the buzzing that Trendle remembered, of a bee trapped in a hotel room where he had once stayed.

Then you gain the ability to predict what it will do next. This is the sixth sense of the practised animal trainer. Eventually you don’t see the hawk’s body language at all. You seem to feel what it feels. Notice what it notices. The hawk’s apprehension becomes your own. You are exercising what the poet Keats called your chameleon quality, the ability to ‘tolerate a loss of self and a loss of rationality by trusting in the capacity to recreate oneself in another character or another environment’. Such a feat of imaginative recreation has always come easily to me. Too easily. It’s part of being a watcher, forgetting who you are and putting yourself in the thing you are watching. That is why the girl who was me when I was small loved watching birds. She made herself disappear, and then in the birds she watched, took flight. It was happening now. I had put myself in the hawk’s wild mind to tame her, and as the days passed in the darkened room my humanity was burning away.

I realized what he was doing. What he was recreating. It was the date we’d imagined together, laying next to each other in a dingy motel room. I could still feel the scratchy sheet against my cheek and see the glow in his eyes.

Some incest survivors will do anything to maintain a connection, however false or feeble, with the offending parent. Pain and self-punishment, comforting in its familiarity, maintains the psychic relationship. Through cutting they can re-create the childhood drama but also control its outcome, meting out pain in safe, measured, manageable doses. They can play the parts of both abuser and victim, then assume the role of loving, protective caretaker—bandaging their wounds and watching them heal. They can take comfort in knowing that no one can hurt them as much as they can hurt themselves. Even if the only outward concern they receive is from therapists and emergency room doctors, it is proof that someone cares—perhaps the only proof they have.

All these years, he convinced himself of Harry’s arrogance, of his resemblance to James and not Lily, of flaws that Harry did and did not have, because he couldn’t endure the guilt of what he had taken from this child. Lily’s baby showed up at Hogwarts ten years later, abused and half-starved, prone to headaches, constantly aware that the mass murderer who attacked him would return to finish the job. Snape had been terrified to let himself feel the life he had really given Harry. Better to believe that Harry didn’t suffer. That Potter was so insulated by his arrogance, he could barely feel pain at all. That criticism would simply bounce off him without effect. The ordinary things in Lily’s letter, the garish bad taste of a godfather’s room, the quiet birthday teas . . .  these are the things that Snape took from Harry. By tearing the photo, he recreated what he had done to Harry’s family when he asked Voldemort for the mother’s life but not the father’s or child’s. There was no magic to this act, but it raised emotion and cast a spell nonetheless: a mundane spell for remorse. Snape showed Harry through the memory that he understood what he had done. This memory is an apology.

When we cannot return to our homes –or are waiting for them to be taken from us again –we must get the hang of how to recreate it elsewhere. It is in the particular smell of rice, or aubergines, the pastry that survived on the windowsills of our mothers’ kitchens. It is present in the familial catchphrases of a sentence once uttered decades ago, resurrected every mealtime, ‘The koftes are burnt!’ We have been shown to grieve beneath beautiful scarves tied around our hair, and to eat and drink water in back rooms with shut windows so we may not be seen replenishing a life that another has lost. We are heirs to their favourite chairs, and wedding rings, and the noose around their neck.

The ecstasy of creation is when, as an artist, you are one with and totally absorbed in the act. It is the same experience whether it is the act of painting, making music, or writing. The experience really obliterates all other considerations at that moment. The act of re-creating the visual experience o the models in front of me is absolutely absorbing, leaving no room for extraneous thoughts, sexual or otherwise. My routine is my way of controlling hysteria.

One year ago today, we had our first date.” “At the old Freddy Fazbear’s Pizzeria.” Kane nodded and looked around the Pizzaplex’s dining room. “This was as close as I could get to re-creating that, since the Pizzeria shut down.