Related Book Quotes

Most people don't realize how important librarians are. I ran across a book recently which suggested that the peace and prosperity of a culture was solely related to how many librarians it contained. Possibly a slight overstatement. But a culture that doesn't value its librarians doesn't value ideas and without ideas, well, where are we?

#1425: When you really like someone, tell them. Sometimes you only get one chance.

No matter how old you are now. You are never too young or too old for success or going after what you want. Here’s a short list of people who accomplished great things at different ages 1) Helen Keller, at the age of 19 months, became deaf and blind. But that didn’t stop her. She was the first deaf and blind person to earn a Bachelor of Arts degree. 2) Mozart was already competent on keyboard and violin; he composed from the age of 5. 3) Shirley Temple was 6 when she became a movie star on “Bright Eyes.” 4) Anne Frank was 12 when she wrote the diary of Anne Frank. 5) Magnus Carlsen became a chess Grandmaster at the age of 13. 6) Nadia Comăneci was a gymnast from Romania that scored seven perfect 10.0 and won three gold medals at the Olympics at age 14. 7) Tenzin Gyatso was formally recognized as the 14th Dalai Lama in November 1950, at the age of 15. 8) Pele, a soccer superstar, was 17 years old when he won the world cup in 1958 with Brazil. 9) Elvis was a superstar by age 19. 10) John Lennon was 20 years and Paul Mcartney was 18 when the Beatles had their first concert in 1961. 11) Jesse Owens was 22 when he won 4 gold medals in Berlin 1936. 12) Beethoven was a piano virtuoso by age 23 13) Issac Newton wrote Philosophiæ Naturalis Principia Mathematica at age 24 14) Roger Bannister was 25 when he broke the 4 minute mile record 15) Albert Einstein was 26 when he wrote the theory of relativity 16) Lance E. Armstrong was 27 when he won the tour de France 17) Michelangelo created two of the greatest sculptures “David” and “Pieta” by age 28 18) Alexander the Great, by age 29, had created one of the largest empires of the ancient world 19) J.K. Rowling was 30 years old when she finished the first manuscript of Harry Potter 20) Amelia Earhart was 31 years old when she became the first woman to fly solo across the Atlantic Ocean 21) Oprah was 32 when she started her talk show, which has become the highest-rated program of its kind 22) Edmund Hillary was 33 when he became the first man to reach Mount Everest 23) Martin Luther King Jr. was 34 when he wrote the speech “I Have a Dream." 24) Marie Curie was 35 years old when she got nominated for a Nobel Prize in Physics 25) The Wright brothers, Orville (32) and Wilbur (36) invented and built the world's first successful airplane and making the first controlled, powered and sustained heavier-than-air human flight 26) Vincent Van Gogh was 37 when he died virtually unknown, yet his paintings today are worth millions. 27) Neil Armstrong was 38 when he became the first man to set foot on the moon. 28) Mark Twain was 40 when he wrote "The Adventures of Tom Sawyer", and 49 years old when he wrote "Adventures of Huckleberry Finn" 29) Christopher Columbus was 41 when he discovered the Americas 30) Rosa Parks was 42 when she refused to obey the bus driver’s order to give up her seat to make room for a white passenger 31) John F. Kennedy was 43 years old when he became President of the United States 32) Henry Ford Was 45 when the Ford T came out. 33) Suzanne Collins was 46 when she wrote "The Hunger Games" 34) Charles Darwin was 50 years old when his book On the Origin of Species came out. 35) Leonardo Da Vinci was 51 years old when he painted the Mona Lisa. 36) Abraham Lincoln was 52 when he became president. 37) Ray Kroc Was 53 when he bought the McDonalds Franchise and took it to unprecedented levels. 38) Dr. Seuss was 54 when he wrote "The Cat in the Hat". 40) Chesley "Sully" Sullenberger III was 57 years old when he successfully ditched US Airways Flight 1549 in the Hudson River in 2009. All of the 155 passengers aboard the aircraft survived 41) Colonel Harland Sanders was 61 when he started the KFC Franchise 42) J.R.R Tolkien was 62 when the Lord of the Ring books came out 43) Ronald Reagan was 69 when he became President of the US 44) Jack Lalane at age 70 handcuffed, shackled, towed 70 rowboats 45) Nelson Mandela was 76 when he became President

Anyway, you can be sure of one thing, a man's got to fake just to stay alive.

I want to see mountains again, Gandalf, mountains, and then find somewhere where I can rest. In peace and quiet, without a lot of relatives prying around, and a string of confounded visitors hanging on the bell. I might find somewhere where I can finish my book. I have thought of a nice ending for it: and he lived happily ever after to the end of his days.

In a rich moonlit garden, flowers open beneath the eyes of entire nations terrified to acknowledge the simplicity of the beauty of peace.

Weren’t all books ultimately related? After all, the same letters filled them, just arranged in a different order. Which meant that, in a certain way, every book was contained in every other!

A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.

You, what are you? The brat of lucky parents who were related to a childless king. There is no such thing as royal blood. I believe we are what we make ourselves, and as such, you, Crown Princess, are nothing.

Lists of books we re-read and books we can't finish tell more about us than about the relative worth of the books themselves

We live by action—by acting on desire. Those of us who don't know how to want—whether geniuses or beggars—are related by impotence.

A slinky is a toy made for stairs, but that’s entirely too tiresome. What about a toy for escalators that doesn’t move and does nothing and that’s the whole point? I think Americans would relate to and embrace that mentality.

I want to go to Martha’s Vineyard. I have an aunt named Martha. And an uncle by that name. Neither one is related to me.

Harry picked it up and stared at it, his heart twanging like a giant elastic band. No one, ever, in his whole life, had written to him. Who would? He had no friends, no other relatives — he didn’t belong to the library, so he’d never even got rude notes asking for books back. Yet here it was, a letter, addressed so plainly there could be no mistake: Mr. H. Potter The Cupboard under the Stairs 4 Privet Drive Little Whinging Surrey

Broke is a relative term, like sister, cousin, or Uncle Sam.


When the food runs out, the family reunion is over. It’s cool that out of all my relatives, I’m the only cannibal.

Dear Goat, How does one fall in love? Do you trip? Do you stumble, lose your balance and drop to the sidewalk, graze your knee, graze your heart? Do you crash to the stony ground? Is there a precipice, from which you float, over the edge, forever? I know I'm in love when I see you, I know when I long to see you. Not a muscle has moved. Leaves hang unruffled by any breeze. The air is still. I have fallen in love without taking step. When did this happen? I haven't even blinked. I'm on fire. Is that too banal for you? It's not, you know. You'll see. It's what happens. It's what matters. I'm on fire. I no longer eat, I forget to eat. Food looks silly to me, irrelevant. If I even notice it. But I notice nothing. My thoughts are full and raging, a house full of brothers, related by blood, feuding blood feuds: "I'm in love." "Typically stupid choice." "I am, though, I'm racked by love as if love were pain." "Go ahead. Fuck up your life. It's all wrong and you know it. Wake up. Face it." "There's only one face, it's all I see, awake or asleep." I threw the book out the window last night. I tried to forget. You are all wrong for me, I know it, but I no longer care for my thoughts unless they're thoughts of you. When I'm close to you, in your presence, I feel your hair brush my cheek when it does not. I look away from you, sometimes. Then I look back. When I tie my shoes, when I peel an orange, when I drive my car, when I lie down each night without you, I remain, As ever, Ram

How we relate with other people is dependent on how we rate ourselves and what we think about ourselves.

But I can now understand why people read, why they like to get lost in somebody else's life. Sometimes I'll read a sentence and it will make me sit up, jolt me, because it is something that I have recently felt but never said out loud. I want to reach into the page and tell the characters that I understand them, that they're not alone, that I'm not alone, that it's ok to feel like this. And then the lunch bell rings, the book closes, and I'm plunged back into reality.

Normal is all relative.

I'm so fucking tired of black women always being described by their skin tones! Honey-colored this! Dark-chocolate that! My paternal grandmother was mocha-tinged, café-au-lait, graham-fucking-cracker brown! How come they never describe the white characters in relation to foodstuffs and hot liquids? Why aren't there any yogurt-colored, egg-shell-toned, string-cheese-skinned, low-fat-milk white protagonists in these racist, no-third-act-having books? That's why black literature sucks!

To have humility is to experience reality, not in relation to ourselves, but in its sacred independence. It is to see, judge, and act from the point of rest in ourselves. Then, how much disappears, and all that remains falls into place. In the point of rest at the center of our being, we encounter a world where all things are at rest in the same way. Then a tree becomes a mystery, a cloud a revelation, each man a cosmos of whose riches we can only catch glimpses. The life of simplicity is simple, but it opens to us a book in which we never get beyond the first syllable.

Every book changes you in some way, whether it’s your perspective on the world or how you define yourself in relation to the world.

For years I wondered why dreams are so often dull when related, and this morning I find the answer, which is very simple - like most answers, you have always known it: No context ... like a stuffed animal set on the floor of a bank.

4. Religion. Your reason is now mature enough to examine this object. In the first place, divest yourself of all bias in favor of novelty & singularity of opinion... shake off all the fears & servile prejudices, under which weak minds are servilely crouched. Fix reason firmly in her seat, and call to her tribunal every fact, every opinion. Question with boldness even the existence of a God; because, if there be one, he must more approve of the homage of reason, than that of blindfolded fear. You will naturally examine first, the religion of your own country. Read the Bible, then as you would read Livy or Tacitus. The facts which are within the ordinary course of nature, you will believe on the authority of the writer, as you do those of the same kind in Livy and Tacitus. The testimony of the writer weighs in their favor, in one scale, and their not being against the laws of nature, does not weigh against them. But those facts in the Bible which contradict the laws of nature, must be examined with more care, and under a variety of faces. Here you must recur to the pretensions of the writer to inspiration from God. Examine upon what evidence his pretensions are founded, and whether that evidence is so strong, as that its falsehood would be more improbable than a change in the laws of nature, in the case he relates. For example in the book of Joshua we are told the sun stood still several hours. Were we to read that fact in Livy or Tacitus we should class it with their showers of blood, speaking of statues, beasts, &c. But it is said that the writer of that book was inspired. Examine therefore candidly what evidence there is of his having been inspired. The pretension is entitled to your inquiry, because millions believe it. On the other hand you are astronomer enough to know how contrary it is to the law of nature that a body revolving on its axis as the earth does, should have stopped, should not by that sudden stoppage have prostrated animals, trees, buildings, and should after a certain time have resumed its revolution, & that without a second general prostration. Is this arrest of the earth's motion, or the evidence which affirms it, most within the law of probabilities? You will next read the New Testament. It is the history of a personage called Jesus. Keep in your eye the opposite pretensions: 1, of those who say he was begotten by God, born of a virgin, suspended & reversed the laws of nature at will, & ascended bodily into heaven; and 2, of those who say he was a man of illegitimate birth, of a benevolent heart, enthusiastic mind, who set out without pretensions to divinity, ended in believing them, and was punished capitally for sedition, by being gibbeted, according to the Roman law, which punished the first commission of that offence by whipping, & the second by exile, or death in fureâ. ...Do not be frightened from this inquiry by any fear of its consequences. If it ends in a belief that there is no God, you will find incitements to virtue in the comfort and pleasantness you feel in its exercise, and the love of others which it will procure you... In fine, I repeat, you must lay aside all prejudice on both sides, and neither believe nor reject anything, because any other persons, or description of persons, have rejected or believed it... I forgot to observe, when speaking of the New Testament, that you should read all the histories of Christ, as well of those whom a council of ecclesiastics have decided for us, to be Pseudo-evangelists, as those they named Evangelists. Because these Pseudo-evangelists pretended to inspiration, as much as the others, and you are to judge their pretensions by your own reason, and not by the reason of those ecclesiastics. Most of these are lost... [Letter to his nephew, Peter Carr, advising him in matters of religion, 1787]

Music, to me, is the most beautiful form, and I love film because film is very related to music. It moves by you in its own rhythm. It's not like reading a book or looking at a painting. It gives you its own time frame, like music, so they are very connected for me. But music to me is the biggest inspiration. When I get depressed, or anything, I go "think of all the music I haven't even heard yet!" So, it's the one thing. Imagine the world without music. Man, just hand me a gun, will you?

It is a laborious madness and an impoverishing one, the madness of composing vast books - setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them." (From the Introduction of 1941's The Garden of Forking Paths)

It was the fangirl code for every book geek: read, chat, squeal. Re-read, chat, and squeal again, until it’s all over and the dreaded book funk sets in. Find the next best thing to fill the void, then repeat steps one through three as necessary.

The impoverished always try to keep moving, as if relocating might help. They ignore the reality that a new version of the same old problem will be waiting at the end of the trip- the relative you cringe to kiss.

Now more than ever, 33 Himmel Street was a place of silence, and it did not go unnoticed that the Duden Dictionary was completely and utterly mistaken, especially with its related words. Silence was not quiet or calm, and it was not peace.

Sometimes I have a weird dream that we’re all relatively brief sparks of consciousness that live on a rock circling a ball of fire.

I'm actually a hardcore otaku who likes maids more than having three meals a day. And I only read books related to maids. Also, I only visit maid cafes. Of course, I also collect maid figurines. I play games which feature female maids and it turns me on so much. Then I'll wear the maid uniforms and jump in joy. I'll take my leave now.

In the shop window you have promptly identified the cover with the title you were looking for. Following this visual trail, you have forced your way through the shop past the thick barricade of Books You Haven't Read, which were frowning at you from the tables and shelves, trying to cow you. But you know you must never allow yourself to be awed, that among them there extend for acres and acres the Books You Needn't Read, the Books Made For Purposes Other Than Reading, Books Read Even Before You Open Them Since They Belong To The Category Of Books Read Before Being Written. And thus you pass the outer girdle of ramparts, but then you are attacked by the infantry of the Books That If You Had More Than One Life You Would Certainly Also Read But Unfortunately Your Days Are Numbered. With a rapid maneuver you bypass them and move into the phalanxes of the Books You Mean To Read But There Are Others You Must Read First, the Books Too Expensive Now And You'll Wait Till They're Remaindered, the Books ditto When They Come Out In Paperback, Books You Can Borrow From Somebody, Books That Everybody's Read So It's As If You Had Read Them, Too. Eluding these assaults, you come up beneath the towers of the fortress, where other troops are holding out: the Books You've Been Planning To Read For Ages, the Books You've Been Hunting For Years Without Success, the Books Dealing With Something You're Working On At The Moment, the Books You Want To Own So They'll Be Handy Just In Case, the Books You Could Put Aside Maybe To Read This Summer, the Books You Need To Go With Other Books On Your Shelves, the Books That Fill You With Sudden, Inexplicable Curiosity, Not Easily Justified, Now you have been able to reduce the countless embattled troops to an array that is, to be sure, very large but still calculable in a finite number; but this relative relief is then undermined by the ambush of the Books Read Long Ago Which It's Now Time To Reread and the Books You've Always Pretended To Have Read And Now It's Time To Sit Down And Really Read Them.

O grace abounding and allowing me to dare to fix my gaze on the Eternal Light, so deep my vision was consumed in it! I saw how it contains within its depths all things bound in a single book by love of which creation is the scattered leaves: how substance, accident, and their relation were fused in such a way that what I now describe is but a glimmer of that Light.

She tried to take comfort in the books. Stories had always felt as if they were her friends. But all these stories felt like distant relations to the tales she knew.

Pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

Everything that happens where we live happens in us. Everything that ceases in what we see ceases in us. Everything that has been, if we saw it when it was, was taken from us when it went away.

If it is a human thing to do to put something you want, because it's useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then the next day you probably do much the same again—if to do that is human, if that's what it takes, then I am a human being after all. Fully, freely, gladly, for the first time.... [T]he proper, fitting shape of the novel might be that of a sack, a bag. A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us." —"The Carrier Bag Theory of Fiction

People think that libraries are quiet, but they really aren’t. They rumble with voices and footsteps and a whole orchestral range of book-related noises—the snap of covers clapping shut; the breathy whisk of pages fanning open; the distinctive thunk of one book being stacked on another; the grumble of book carts in the corridors.

Our great mistake in education is, as it seems to me, the worship of book-learning–the confusion of instruction and education. We strain the memory instead of cultivating the mind. The children in our elementary schools are wearied by the mechanical act of writing, and the interminable intricacies of spelling; they are oppressed by columns of dates, by lists of kings and places, which convey no definite idea to their minds, and have no near relation to their daily wants and occupations; while in our public schools the same unfortunate results are produced by the weary monotony of Latin and Greek grammar. We ought to follow exactly the opposite course with children–to give them a wholesome variety of mental food, and endeavor to cultivate their tastes, rather than to fill their minds with dry facts. The important thing is not so much that every child should be taught, as that every child should be given the wish to learn. What does it matter if the pupil know a little more or a little less? A boy who leaves school knowing much, but hating his lessons, will soon have forgotten almost all he ever learned; while another who had acquired a thirst for knowledge, even if he had learned little, would soon teach himself more than the first ever knew.

Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies.

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

A very important but difficult piece of renewing relationships is accepting responsibility for our part in any conflict. If we have a relationship in need of repair, we must remember that the wrong is not usually all on one side, and we are more easily able to restore relations when we look at our contribution to a conflict.

The qualities that make for excellence in children's literature can be summed up in a single word: imagination. And imagination as it relates to the child is, to my mind, synonymous with fantasy. Contrary to most of the propaganda in books for the young, childhood is only partly a time of innocence. It is, in my opinion, a time of seriousness, bewilderment, and a good deal of suffering. It's also possibly the best of all times. Imagination for the child is the miraculous, freewheeling device he uses to course his way through the problems of every day....It's through fantasy that children achieve catharsis.

There were some books that reached through the noise of life to grab you by the collar and speak only of the truest things. A Confession was a book like that. In it, Tolstoy related a Russian fable about a man who, being chased by a monster, jumps into a well. As the man is falling down the well, however, he sees there's a dragon at the bottom, waiting to eat him. Right then, the man notices a branch sticking out of the wall, and he grabs on to it, and hangs. This keeps the man from falling into the dragon's jaws, or being eaten by the monster above, but it turns out there's another little problem. Two mice, one black and one white, are scurrying around and around the branch, nibbling it. It's only a matter of time before they will chew through the branch, causing the man to fall. As the man contemplates his inescapable fate, he notices something else: from the end of the branch he's holding, a few drops of honey are dripping. The man sticks out his tongue to lick them. This, Tolstoy says, is our human predicament: we're the man clutching the branch. Death awaits us. There is no escape. And so we distract ourselves by licking whatever drops of honey come within our reach.

His situation, insofar as he was a machine, was complex, tragic, and laughable. But the sacred part of him, his awareness, remained an unwavering band of light. And this book is being written by a meat machine in cooperation with a machine made of metal and plastic. The plastic, incidentally, is a close relative of the gunk in Sugar Creek. And at the core of the writing meat machine is something sacred, which is an unwavering band of light. At the core of each person who reads this book is a band of unwavering light. My doorbell has just rung in my New York apartment. And I know what I will find when I open my front door: an unwavering band of light.

This state of affairs is known technically as the "double-bind." A person is put in a double-bind by a command or request which contains a concealed contradiction... This is a damned-if-you-do and damned-if-you-don't situation which arises constantly in human (and especially family) relations... The social doublebind game can be phrased in several ways:The first rule of this game is that it is not a game. Everyone must play. You must love us. You must go on living. Be yourself, but play a consistent and acceptable role. Control yourself and be natural. Try to be sincere. Essentially, this game is a demand for spontaneous behavior of certain kinds. Living, loving, being natural or sincere—all these are spontaneous forms of behavior: they happen "of themselves" like digesting food or growing hair. As soon as they are forced they acquire that unnatural, contrived, and phony atmosphere which everyone deplores—weak and scentless like forced flowers and tasteless like forced fruit. Life and love generate effort, but effort will not generate them. Faith—in life, in other people, and in oneself—is the attitude of allowing the spontaneous to be spontaneous, in its own way and in its own time.

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

It happens to us once or twice in a lifetime to be drunk with some book which probably has some extraordinary relative power to intoxicate us and none other; and having exhausted that cup of enchantment we go groping in libraries all our years afterwards in the hope of being in Paradise again.

because of its repetitive nature, complex trauma is fundamentally relational trauma. In other words, this is trauma caused by bad relationships with other people—people who were supposed to be caring and trustworthy and instead were hurtful. That meant future relationships with anybody would be harder for people with complex trauma because they were wired to believe that other people could not be trusted. The only way you could heal from relational trauma, he figured, was through practicing that relational dance with other people. Not just reading self-help books or meditating alone. We had to go out and practice maintaining relationships in order to reinforce our shattered belief that the world could be a safe place. “Relationships

Who says books aren't 'real' friends? We hug them, treasure them, relate to them, spend weekends with them, and bring them along on vacation! They give us escape, comfort, adventures, advice, hope, inspiration, role models, and something to look forward to after a hard day. What more could you ask for from a friend?

We are involved now in a serious revolution. This nation is still a place of cheap political leaders who build their careers on immoral compromises and ally themselves with open forms of political, economic and social exploitation. What political leader here can stand up and say, "My party is the party of principles?

To share out your soul freely, that is what metanoia (a change of mind, or repentance)really refers to: a mental product of love. A change of mind, or love for the undemonstrable. And you throw off every conceptual cloak of self-defense, you give up the fleshly resistance of your ego. Repentance has nothing to do with self-regarding sorrow for legal transgressions. It is an ecstatic erotic self-emptying. A change of mind about the mode of thinking and being.

Deliberate living: Conscious attention to the basics of life, and a constant attention to your immediate environment and its concerns - A job, a task, a book; anything requiring efficient concentration (Circumstance has no value. It is how one relates to a situation that has value. All true meaning resides in the personal relationship to a phenomenon, what it means to you

I read the first chapter of A Brief History of Time when Dad was still alive, and I got incredibly heavy boots about how relatively insignificant life is, and how compared to the universe and compared to time, it didn't even matter if I existed at all. When Dad was tucking me in that night and we were talking about the book, I asked if he could think of a solution to that problem. "Which problem?" "The problem of how relatively insignificant we are." He said, "Well, what would happen if a plane dropped you in the middle of the Sahara Desert and you picked up a single grain of sand with tweezers and moved it one millimeter?" I said, "I'd probably die of dehydration." He said, "I just mean right then, when you moved that single grain of sand. What would that mean?" I said, "I dunno, what?" He said, "Think about it." I thought about it. "I guess I would have moved one grain of sand." "Which would mean?" "Which would mean I moved a grain of sand?" "Which would mean you changed the Sahara." "So?" "So? So the Sahara is a vast desert. And it has existed for millions of years. And you changed it!" "That's true!" I said, sitting up. "I changed the Sahara!" "Which means?" he said. "What? Tell me." "Well I'm not talking about painting the Mona Lisa or curing cancer. I'm just talking about moving that one grain of sand one millimeter." "Yeah? If you hadn't done it, human history would have been one way..." "Uh-huh?" "But you did do it, so...?" I stood on the bed, pointing one of my fingers at the fake stars, and screamed: "I changed the course of human history!" "That's right." "I changed the universe!" "You did." "I'm God!" "You're an atheist." "I don't exist!" I fell back onto the bed, into his arms, and we cracked up together.

Today, we have knowledge of many, many things and the relations among human beings have multiplied ad infinitum. But we live in cities that are like deafening factories in awful Babels, with nothing to remind us of our inner world. Our communion with this inner world is not through contemplation but through books. We have passed from intuition into intellectualism.

Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell.

Much has been said of the aesthetic values of chanoyu- the love of the subdued and austere- most commonly characterized by the term, wabi. Wabi originally suggested an atmosphere of desolation, both in the sense of solitariness and in the sense of the poverty of things. In the long history of various Japanese arts, the sense of wabi gradually came to take on a positive meaning to be recognized for its profound religious sense. ...the related term, sabi,... It was mid-winter, and the water's surface was covered with the withered leaves of the of the lotuses. Suddenly I realized that the flowers had not simply dried up, but that they embodied, in their decomposition, the fullness of life that would emerge again in their natural beauty.

The Nation, which indulges towards another an habitual hatred, or an habitual fondness, is in some degree a slave. It is a slave to its animosity or to its affection, either of which is sufficient to lead it astray from its duty and its interest. ... The Nation, prompted by ill-will and resentment, sometimes impels to war the Government, contrary to the best calculations of policy. The Government sometimes participates in the national propensity, and adopts through passion what reason would reject; at other times, it makes the animosity of the nation subservient to projects of hostility instigated by pride, ambition, and other sinister and pernicious motives. The peace often, sometimes perhaps the liberty, of Nations has been the victim.

There cannot be a language more universal and more simple, more free from errors and obscurities...more worthy to express the invariable relations of all natural things [than mathematics]. [It interprets] all phenomena by the same language, as if to attest the unity and simplicity of the plan of the universe, and to make still more evident that unchangeable order which presides over all natural causes

Having placed in my mouth sufficient bread for three minutes' chewing, I withdrew my powers of sensual perception and retired into the privacy of my mind, my eyes and face assuming a vacant and preoccupied expression. I reflected on the subject of my spare-time literary activities. One Beginning and one ending for a book was a thing I did not agree with. A good book may have three openings entirely dissimilar and inter-related only in the prescience of the author, or for that matter one hundred times as many endings.

B-b-but who will I have cleaning marathons with?” “Casey. I’ll be there in spirit.” “She’s not neurotic and cranky like you.” “You’ll miss that, ay?” “Hell yes, I’ll miss that! When you’re obsessive and pissy, you tell those floors who’s boss. They won’t shine like that when Casey scrubs them. And don’t get me started on our Covenant Series discussions. The girl thinks Alex should pick Seth. Seth, Em. How can I clean with someone who isn’t Team Aiden? It’s like...madness. Madness on Earth. The fucking apocalypse—” “Whitney,” I chuckled, squeezing her tighter, “I assure you, you’ll survive. The second she starts running her mouth about Aiden, just spray her with bleach. That’ll teach her a lesson.” -Emma and Whitney

What, are you like Buffy or something? A vampire slayer?” I wish. “No, but my sister is. And my boyfriend’s a vampire so I know a lot about their kind.” Jayden shrinks back from me, wide-eyed. “No, no. He’s one of the good ones. Not all vampires are evil,” I assure him. “So…you’re dating…Edward Cullen.” “Sure, if you have to relate it all to a Stephenie Meyer book,” I grudgingly agree. “But don’t say that to Magnus’s face. He’s a card-carrying member of Team Jacob. Even has the T-shirt.

I am often described to my irritation as a 'contrarian' and even had the title inflicted on me by the publisher of one of my early books. (At least on that occasion I lived up to the title by ridiculing the word in my introduction to the book's first chapter.) It is actually a pity that our culture doesn't have a good vernacular word for an oppositionist or even for someone who tries to do his own thinking: the word 'dissident' can't be self-conferred because it is really a title of honor that has to be won or earned, while terms like 'gadfly' or 'maverick' are somehow trivial and condescending as well as over-full of self-regard. And I've lost count of the number of memoirs by old comrades or ex-comrades that have titles like 'Against the Stream,' 'Against the Current,' 'Minority of One,' 'Breaking Ranks' and so forth—all of them lending point to Harold Rosenberg's withering remark about 'the herd of independent minds.' Even when I was quite young I disliked being called a 'rebel': it seemed to make the patronizing suggestion that 'questioning authority' was part of a 'phase' through which I would naturally go. On the contrary, I was a relatively well-behaved and well-mannered boy, and chose my battles with some deliberation rather than just thinking with my hormones.

Manage me, I am a mess, swept under the rug of yesterday’s home improvement, a whimsical urge tossed aside for the easy reassurance of home and comfort. I am the photograph tucked away as a book-mark, in a book left half unread, once reopened to find memories crawling back into peripheral sight, faded, creased and lonely. I long to be admired, long to be held, torn and laughed at, laughed with, like a distant relative or an old friend breathing in their last breath. I missed the moment when time collapsed and memory was erased, replaced by finicky social experiments, lost in the blur of intoxication, sucked through multi-colored bendy-straws, making way for a spinning world where hub-caps stood still, but our vision didn’t. If I could leave you with only one thing, it would be small, foldable, and made from trees, with a few careless words, scribbled in blue; Take a minute to learn me, take a moment to love me, because I need your love to live,and without it, I am nothing.

You’re making me think of something else now, but it’s related. I love watching little kids play. No matter where you look in the world, you’ll observe that kids are programmed to play. They learn through play. I think if we’re lucky we never forget how to play. And, I tell you, Gwinlyn, that’s one of the things I find most attractive about you. You like to play, and you like to play with me. Unfortunately, too many women I’ve met prefer to be grown up all the time. They take themselves too seriously.

He had altered his method of matching books to readers. He often asked, "How would you like to feel when you go to sleep?" Most of his customers wanted to feel light and safe. He asked others to tell him about their favorite things. Cooks loved their knives. Estate agents loved the jangle made by a bunch of keys. Dentists loved the flicker of fear in their patients' eyes; Perdu had guessed as much. Most often he asked, "How should the book taste? Of ice cream? Spicy, meaty? Or like a chilled rose?" Food and books were closely related. He discovered this in Sanary, and it earned him the nickname "the book epicure.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

This dim coolness of my room was to the broad daylight of the street what the shadow is to the sunbeam, that is to say equally luminous, and presented to my imagination the entire panorama of summer, which my senses, if I had been out walking, could have tasted and enjoyed only piecemeal; and so it was quite in harmony with my state of repose which (thanks to the enlivening adventures related in my books) sustained, like a hand reposing motionless in a stream of running water, the shock and animation of a torrent of activity.

I was reading a book about the cosmos recently,” he says, and then he looks around and goes, “Hold on, trust me, this relates.” The crowd laughs again. “And I was reading about different theories about the universe. I was really taken with this one theory that states that everything that is possible happens. That means that when you flip a quarter, it doesn’t come down heads or tails. It comes up heads and tails. Every time you flip a coin and it comes up heads, you are merely in the universe where the coin came up heads. There is another version of you out there, created the second the quarter flipped, who saw it come up tails. This is happening every second of every day. The world is splitting further and further into an infinite number of parallel universes where everything that could happen is happening. This is completely plausible, by the way. It’s a legitimate interpretation of quantum mechanics. It’s entirely possible that every time we make a decision, there is a version of us out there somewhere who made a different choice. An infinite number of versions of ourselves are living out the consequences of every single possibility in our lives. What I’m getting at here is that I know there may be universes out there where I made different choices that led me somewhere else, led me to someone else.” He looks at Gabby. “And my heart breaks for every single version of me that didn’t end up with you.

I am beginning to be sorry that I ever undertook to write this book. Not that it bores me; I have nothing else to do; indeed, it is a welcome distraction from eternity. But the book is tedious, it smells of the tomb, it has a rigor mortis about it; a serious fault, and yet a relatively small one, for the great defect of this book is you, reader. You want to live fast, to get to the end, and the book ambles along slowly; you like straight, solid narrative and a smooth style, but this book and my style are like a pair of drunks; they stagger to the right and to the left, they start and they stop, they mutter, they roar, they guffaw, they threaten the sky, they slip and fall... And fall! Unhappy leaves of my cypress tree, you had to fall, like everything else that is lovely and beautiful; if I had eyes, I would shed a tear of remembrance for you. And this is the great advantage in being dead, that if you have no mouth with which to laugh, neither have you eyes with which to cry.

As long as you are not conscious of your self you can live; but if you become conscious of your self you fall from one grave into another. All your rebirths could ultimately make you sick. The Buddha therefore finally gave up on rebirth, for he had had enough of crawling through all human and animal forms. After all the rebirths you still remain the lion crawling on the earth, the Chameleon, a caricature, one prone to changing colors, a crawling shimmering lizard, but precisely not a lion, whose nature is related to the sun, who draws his power from within himself who does not crawl around in the protective colors of the environment, and who does not defend himself by going into hiding. I recognized the chameleon and no longer want to crawl on the earth and change colors and be reborn; instead I want to exist from my own force, like the sun which gives light and does not suck light. That belongs to the earth. I recall my solar nature and would like to rush to my rising. But ruins stand in my way They say: 'With regard to men you should be this or that.' My chameleonesque skin shudders. They obtrude upon me and want to color me. But that should no longer be. Neither good nor evil shall be my masters. I push them aside, the laughable survivors, and go on my way again, which leads me to the East. The quarreling powers that for so long stood between me and myself lie behind me.

In the year Ten Million, according to Koradubian, there would be a tremendous house-cleaning. All records relating to the period between the death of Christ and the year One Million A.D. would be hauled to the dumps and burned. This would be done, said Koradubian, because museums and archives would be crowding the living right off the Earth. The million-year period to which the burned junk related would be summed up in history books in one sentence, according to Koradubian: Following the death of Jesus Christ, there was a period of readjustment that lasted for approximately one million years.

One not only wants to be understood when one writes, but also quite as certainly not to be understood. It is by no means an objection to a book when someone finds it unintelligible: perhaps this might just have been the intention of its author, perhaps he did not want to be understood by "anyone”. A distinguished intellect and taste, when it wants to communicate its thoughts, always selects its hearers; by selecting them, it at the same time closes its barriers against "the others". It is there that all the more refined laws of style have their origin: they at the same time keep off, they create distance, they prevent "access" (intelligibility, as we have said,) while they open the ears of those who are acoustically related to them.

The greatest book in the world, the Mahabharata, tells us we all have to live and die by our karmic cycle. Thus works the perfect reward-and-punishment, cause-and-effect, code of the universe. We live out in our present life what we wrote out in our last. But the great moral thriller also orders us to rage against karma and its despotic dictates. It teaches us to subvert it. To change it. It tells us we also write out our next lives as we live out our present. The Mahabharata is not a work of religious instruction. It is much greater. It is a work of art. It understands men will always fall in the shifting chasm between the tug of the moral and the lure of the immoral. It is in this shifting space of uncertitude that men become men. Not animals, not gods. It understands truth is relative. That it is defined by context and motive. It encourages the noblest of men - Yudhishtra, Arjuna, Lord Krishna himself - to lie, so that a greater truth may be served. It understands the world is powered by desire. And that desire is an unknowable thing. Desire conjures death, destruction, distress. But also creates love, beauty, art. It is our greatest undoing. And the only reason for all doing. And doing is life. Doing is karma. Thus it forgives even those who desire intemperately. It forgives Duryodhana. The man who desires without pause. The man who precipitates the war to end all wars. It grants him paradise and the admiration of the gods. In the desiring and the doing this most reviled of men fulfils the mandate of man. You must know the world before you are done with it. You must act on desire before you renounce it. There can be no merit in forgoing the not known. The greatest book in the world rescues volition from religion and gives it back to man. Religion is the disciplinarian fantasy of a schoolmaster. The Mahabharata is the joyous song of life of a maestro. In its tales within tales it takes religion for a spin and skins it inside out. Leaves it puzzling over its own poisoned follicles. It gives men the chance to be splendid. Doubt-ridden architects of some small part of their lives. Duryodhanas who can win even as they lose.

If one has given oneself utterly, watching the beloved sleep can be a vile experience. Perhaps some of you have known that paralysis, staring down at features closed to your enquiry, locked away from you where you can never, ever go, into the other’s mind. As I say, for us who have given ourselves, that is a horror. One knows, in those moments, that one does not exist, except in relation to that face, that personality. Therefore, when that face is closed down, that personality is lost in its own unknowable world, one feels completely without purpose. A planet without a sun, revolving in darkness.

Literature is, to my mind, the great teaching power of the world, the ultimate creator of all values, and it is this, not only in the sacred books whose power everybody acknowledges, but by every movement of imagination in song or story or drama that height of intensity and sincerity has made literature at all. Literature must take the responsibility of its power, and keep all its freedom: it must be like the spirit and like the wind that blows where it listeth; it must claim its right to pierce through every crevice of human nature, and to descrive the relation of the soul and the heart to the facts of life and of law, and to describe that relation as it is, not as we would have it be...

Todd, trust math. As in Matics, Math E. First-order predicate logic. Never fail you. Quantities and their relation. Rates of change. The vital statistics of God or equivalent. When all else fails. When the boulder's slid all the way back to the bottom. When the headless are blaming. When you do not know your way about. You can fall back and regroup around math. Whose truth is deductive truth. Independent of sense or emotionality. The syllogism. The identity. Modus Tollens. Transitivity. Heaven's theme song. The night light on life's dark wall, late at night. Heaven's recipe book. The hydrogen spiral. The methane, ammonia, H2O. Nucleic acids. A and G, T and C. The creeping inevibatility. Caius is mortal. Math is not mortal. What it is is: listen: it's true.

Back in the summer of 1941, they had stood to lose so much, it seemed, through the shame and ruination of exposure. Sammy could not have known that one day he would come to regard all the things that their loving each other had seemed to put at so much risk – his career in comic books, his relations with his family, his place in the world – as the walls of a prison, an airless, lightless keep from which there was no hope of escape….He recalled his and Tracy’s parting at Penn Station on the morning of Pearl Harbor, in the first-class compartment of the Broadway Limited, their show of ordinary mute male farewell, the handshake, the pat on the shoulder, carefully tailoring and modulating their behavior through there was no one at all watching, so finely attuned to the danger of what they might lose that they could not permit themselves to notice what they had

It seems simple to define what a library is—namely, it is a storeroom of books. But the more time I spent at Central, the more I realized that a library is an intricate machine, a contraption of whirring gears. There were days when I came to the library and planted myself near the center of the main corridor and simply watched the whirl and throb of the place. Sometimes people ambled by, with no apparent destination. Some people marched crisply, full of purpose. Many were alone, some were in pairs; occasionally they traveled in a gaggle. People think that libraries are quiet, but they really aren't. They rumble with voices and footsteps and a whole orchestral range of book-related noises—the snap of covers clapping shut; the breathy whisk of pages fanning open; the distinctive thunk of one book being stacked on another; the grumble of book carts in the corridors.

The historical problems with Luke are even more pronounced. For one thing, we have relatively good records for the reign of Caesar Augustus, and there is no mention anywhere in any of them of an empire-wide census for which everyone had to register by returning to their ancestral home. And how could such a thing even be imagined? Joesph returns to Bethlehem because his ancestor David was born there. But David lived a thousand years before Joseph. Are we to imagine that everyone in the Roman Empire was required to return to the homes of their ancestors from a thousand years earlier? If we had a new worldwide census today and each of us had to return to the towns of our ancestors a thousand years back—where would you go? Can you imagine the total disruption of human life that this kind of universal exodus would require? And can you imagine that such a project would never be mentioned in any of the newspapers? There is not a single reference to any such census in any ancient source, apart from Luke. Why then does Luke say there was such a census? The answer may seem obvious to you. He wanted Jesus to be born in Bethlehem, even though he knew he came from Nazareth ... there is a prophecy in the Old Testament book of Micah that a savior would come from Bethlehem. What were these Gospel writer to do with the fact that it was widely known that Jesus came from Nazareth? They had to come up with a narrative that explained how he came from Nazareth, in Galilee, a little one-horse town that no one had ever heard of, but was born in Bethlehem, the home of King David, royal ancestor of the Messiah.

My books have all been very deeply felt. You don’t spend eight years of your life working on a trendy knockoff. In that sense I’ve been serious. But I don’t do lots of things that other serious writers do. I don’t write book reviews. I don’t sit on panels about the state of the novel. I don’t go to writer conferences. I don’t teach writing seminars. I don’t hang out at Yaddo or MacDowell. I’m not concerned with my reputation as a writer and where I stand relative to other writers. I’m not competitive or professionally ambitious. I don’t think about my work and my career in an overarching or systematic way. I don’t think about myself, as I think most writers do, as progressing toward some ideal of greatness. There’s no grand plan. All I know is that I write the books I want to write. All that other stuff is meaningless to me.

This book is about entanglements. To be entangled is not simply to be intertwined with another, as in the joining of separate entities, but to lack an independent, self-contained existence. Existence is not an individual affair. Individuals do not preexist their interactions; rather, individuals emerge through and as pare of their entangled intra-relating . Which is not to say that emergence happens once and for all, as an event or as a process that takes place according to some external measure of space and of time, but rather that time and space, like matter and meaning, come into existence, are iteratively recon figured through each intra-action, there by making it impossible to differentiate in any absolute sense between creation and renewal, beginning and returning, continuity and discontinuity, here and there, past and future.

Here is my room, in the yellow lamplight and the space heater rumbling: Indian rug red as Cochise's blood, a desk with seven mystic drawers, a chair covered in material as velvety blue-black as Batman's cape, an aquarium holding tiny fish so pale you could see their hearts beat, the aforementioned dresser covered with decals from Revell model airplane kits, a bed with a quilt sewn by a relative of Jefferson Davis's, a closet, and the shelves, oh, yes, the shelves. The troves of treasure. On those shelves are stacks of me: hundreds of comic books- Justice League, Flash, Green Lantern, Batman, the Spirit, Blackhawk, Sgt. Rock and Easy Company, Aquaman, and the Fantastic Four... The shelves go on for miles and miles. My collection of marbles gleams in a mason jar. My dried cicada waits to sing again in the summer. My Duncan yo-yo that whistles except the string is broken and Dad's got to fix it.

You fasten your seatbelt. The plane is landing. To fly is the opposite of traveling: you cross a gap in space, you vanish into the void, you accept not being in any place for a duration that is itself a kind of void in time; then you reappear, in a place and in a moment with no relation to the where and the when in which you vanished. Meanwhile, what do you do? How do you occupy this absence of yourself from the world and of the world from you?" You read; you do not raise your eyes from the book between one airport and the other, because beyond the page there is the void, the anonymity of stopovers, of the metallic uterus that contains you and nourishes you, of the passing crowd always different and always the same. You might as well stick with this other abstraction of travel, accomplished by the anonymous uniformity of typographical characters: here, too, it is the evocative power of the names that persuades you that you are flying over something and not nothingness. You realize that it takes considerable heedlessness to entrust yourself to unsure instruments, handled with approximation; or perhaps this demonstrates and invincible tendency to passivity, to regression, to infantile dependence. (But are you reflecting on the air journey or on reading?)

Usually, even a non-Christian knows something about the earth, the heavens, and the other elements of the world, about the motion and orbit of the stars and even their size and relative positions, about the predictable eclipses of the sun and moon, the cycles of the years and the seasons, about the kinds of animals, shrubs, stones, and so forth, and this knowledge he holds to as being certain from reason and experience. Now, it is a disgraceful and dangerous thing for an infidel to hear a Christian, presumably giving the meaning of Holy Scripture, talking nonsense on these topics; and we should take all means to prevent such an embarrassing situation, in which people show up vast ignorance in a Christian and laugh it to scorn. The shame is not so much that an ignorant individual is derided, but that people outside the household of faith think our sacred writers held such opinions, and, to the great loss of those for whose salvation we toil, the writers of our Scripture are criticized and rejected as unlearned men. If they find a Christian mistaken in a field which they themselves know well and hear him maintaining his foolish opinions about our books, how are they going to believe those books in matters concerning the resurrection of the dead, the hope of eternal life, and the kingdom of heaven, when they think their pages are full of falsehoods on facts which they themselves have learnt from experience and the light of reason? Reckless and incompetent expounders of Holy Scripture bring untold trouble and sorrow on their wiser brethren when they are caught in one of their mischievous false opinions and are taken to task by those who are not bound by the authority of our sacred books. For then, to defend their utterly foolish and obviously untrue statements, they will try to call upon Holy Scripture for proof and even recite from memory many passages which they think support their position, although they understand neither what they say nor the things about which they make assertion [quoting 1 Tim 1:7].

Some years ago I had a conversation with a man who thought that writing and editing fantasy books was a rather frivolous job for a grown woman like me. He wasn’t trying to be contentious, but he himself was a probation officer, working with troubled kids from the Indian reservation where he’d been raised. Day in, day out, he dealt in a concrete way with very concrete problems, well aware that his words and deeds could change young lives for good or ill. I argued that certain stories are also capable of changing lives, addressing some of the same problems and issues he confronted in his daily work: problems of poverty, violence, and alienation, issues of culture, race, gender, and class... “Stories aren’t real,” he told me shortly. “They don’t feed a kid left home in an empty house. Or keep an abusive relative at bay. Or prevent an unloved child from finding ‘family’ in the nearest gang.” Sometimes they do, I tried to argue. The right stories, read at the right time, can be as important as shelter or food. They can help us to escape calamity, and heal us in its aftermath. He frowned, dismissing this foolishness, but his wife was more conciliatory. “Write down the names of some books,” she said. “Maybe we’ll read them.” I wrote some titles on a scrap of paper, and the top three were by Charles de lint – for these are precisely the kind of tales that Charles tells better than anyone. The vital, necessary stories. The ones that can change and heal young lives. Stories that use the power of myth to speak truth to the human heart. Charles de Lint creates a magical world that’s not off in a distant Neverland but here and now and accessible, formed by the “magic” of friendship, art, community, and social activism. Although most of his books have not been published specifically for adolescents and young adults, nonetheless young readers find them and embrace them with particular passion. I’ve long lost count of the number of times I’ve heard people from troubled backgrounds say that books by Charles saved them in their youth, and kept them going. Recently I saw that parole officer again, and I asked after his work. “Gets harder every year,” he said. “Or maybe I’m just getting old.” He stopped me as I turned to go. “That writer? That Charles de Lint? My wife got me to read them books…. Sometimes I pass them to the kids.” “Do they like them?” I asked him curiously. “If I can get them to read, they do. I tell them: Stories are important.” And then he looked at me and smiled.

She could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course; the colour could have been thinned and faded; the shapes etherealised; that was how Paunceforte would have seen it. But then she did not see it like that. She saw the colour burning on a framework of steel; the light of a butterfly’s wing lying upon the arches of a cathedral. Of all that only a few random marks scrawled upon the canvas remained. And it would never be seen; never be hung even, and there was Mr Tansley whispering in her ear, “Women can’t paint, women can’t write ...” She now remembered what she had been going to say about Mrs Ramsay. She did not know how she would have put it; but it would have been something critical. She had been annoyed the other night by some highhandedness. Looking along the level of Mr Bankes’s glance at her, she thought that no woman could worship another woman in the way he worshipped; they could only seek shelter under the shade which Mr Bankes extended over them both. Looking along his beam she added to it her different ray, thinking that she was unquestionably the loveliest of people (bowed over her book); the best perhaps; but also, different too from the perfect shape which one saw there. But why different, and how different? she asked herself, scraping her palette of all those mounds of blue and green which seemed to her like clods with no life in them now, yet she vowed, she would inspire them, force them to move, flow, do her bidding tomorrow. How did she differ? What was the spirit in her, the essential thing, by which, had you found a crumpled glove in the corner of a sofa, you would have known it, from its twisted finger, hers indisputably? She was like a bird for speed, an arrow for directness. She was willful; she was commanding (of course, Lily reminded herself, I am thinking of her relations with women, and I am much younger, an insignificant person, living off the Brompton Road). She opened bedroom windows. She shut doors. (So she tried to start the tune of Mrs Ramsay in her head.) Arriving late at night, with a light tap on one’s bedroom door, wrapped in an old fur coat (for the setting of her beauty was always that—hasty, but apt), she would enact again whatever it might be—Charles Tansley losing his umbrella; Mr Carmichael snuffling and sniffing; Mr Bankes saying, “The vegetable salts are lost.” All this she would adroitly shape; even maliciously twist; and, moving over to the window, in pretence that she must go,—it was dawn, she could see the sun rising,—half turn back, more intimately, but still always laughing, insist that she must, Minta must, they all must marry, since in the whole world whatever laurels might be tossed to her (but Mrs Ramsay cared not a fig for her painting), or triumphs won by her (probably Mrs Ramsay had had her share of those), and here she saddened, darkened, and came back to her chair, there could be no disputing this: an unmarried woman (she lightly took her hand for a moment), an unmarried woman has missed the best of life. The house seemed full of children sleeping and Mrs Ramsay listening; shaded lights and regular breathing.

What best remind us of a person is precisely what we had forgotten (because it was of no importance, and we therefore left it in full possession of its strength). That is why the better part of our memories exist outside us, in a blatter of rain, in the smell of an unaired room or of the first crackling brushwood fire in a cold grate: wherever, in short, we happen upon what our mind, having no use for it, had rejected, the last treasure that the past has in store, the richest, that which, when all our flow of tears seems to have dried at the source, can make us weep again. Outside us? Within us, rather, but hidden from our eyes in an oblivion more or less prolonged. It is thanks to this oblivion alone that we can from time to time recover the person that we were, place ourselves in relation to things as he was placed, suffer anew because we are no longer ourselves but he, and because he loved what now leaves us indifferent. In the broad daylight of our habitual memory the images of the past turn gradually pale and fade out of sight, nothing remains of them, we shall never recapture it. Or rather we should never recapture it had not a few words been carefully locked away in oblivion, just as an author deposits in the National Library a copy of a book which might otherwise become unobtainable.

I am now going to make an admission. I confess, I agree, that all these good people who protested, who laughed, who did not perceive what we perceived, were in a quite legitimate position. Their opinion was quite in order. One must not be afraid to say that the kingdom of letters is only a province of the vast empire of entertainment. One picks up a book, one puts it aside; and even when one cannot put it down one very well understands that this interest is related to the facility of pleasure. That is to say that every effort of a creator of beauty or of fantasy should be bent, by the very essence of his work, on contriving for the public pleasure which demands no effort, or almost none. It is through the public that he should deduce what touches, moves, soothes, animates or enchants the public. There are however several publics; amongst whom it is not impossible to find some people who do not conceive of pleasure without pain, who do not like to enjoy themselves without paying, and who are not happy if their happiness is not in some part their own contrivance through which they wish to realize what it costs them.

Of course I know what she means. To make art in fandom is to follow your passion at the risk of never being taken seriously. I've written dozens of fics-put them together and you'd have several novels-but who knows what a college admissions officer will think of that as a pastime. Where does 12,000 Tumbler followers rate in relation to a spot in the National Honor Society in their minds? Every week I get anonymous messages in my inbox telling me I should write a real book. Well, haven't I already? What makes what I do different from "real writing"? Is it that I don't use original characters? I guess that makes every Hardy Boys edition, every Star Wars book, every spinoff, sequel, fairy-tale re-telling, historical romance, comic book reboot, and the music Hamilton "not real writing". Or is it that a real book is something printed, that you can hold in your hand, not something you write on the internet? Or is "real writing" something you sell in a store, not give away for free? No, I know it's none of these things. It's merely this: "real writing" is done by serious people, whereas fanfiction is written by weirdos, teenagers, degenerates, and women.

So you have chosen aloneness. You have chosen the security and the relative freedom of solitude, because there is no risk involved. You can stay up every night and watch your TV shows and eat ice cream out of the box and scroll through your Tumblr and never let your brain sit still, not even for a moment. You can fill your days up with books and coffees and trips to the store where you forget what you wanted the second you walk in the automatic sliding door. You can do so many little, pointless things throughout the day that all you can think of is how badly you want to sleep, how heavy your whole body is, how much your feet hurt. You can wear yourself out again and again on the pavement, and you do, and it feels good. No one will ever bridge that gap and point to your stomach or your hair or your eyes in the mirror and magically make you see the wonderful things about getting to be next to you. And maybe that’s it, after all, this fear that no one will ever truly feel about you the way you want to be felt about. Maybe what you want is someone to make you love yourself, to put sense into all that positive rhetoric, to make it so the aloneness of TV and blasting music in your ears at all times isn’t the most happy place you can think of. Maybe you want someone who makes you so sure of how wonderful things are that you cannot help but to tell them your feelings first, even at the risk of being humiliated. Because you will know that, when you’re telling them you love them, what you’re really saying is “I love who I become when I am with you.

our tragedy begins humid. in a humid classroom. with a humid text book. breaking into us. stealing us from ourselves. one poem. at a time. it begins with shakespeare. the hot wash. the cool acid. of dead white men and women. people. each one a storm. crashing. into our young houses. making us islands. easy isolations. until we are so beleaguered and swollen with a definition of poetry that is white skin and not us. that we tuck our scalding. our soreness. behind ourselves and learn poetry. as trauma. as violence. as erasure. another place we do not exist. another form of exile where we should praise. honor. our own starvation. the little bits of langston. phyllis wheatley. and angelou during black history month. are the crumbs. are the minor boats. that give us slight rest. to be waterdrugged into rejecting the nuances of my own bursting extraordinary self. and to have this be called education. to take my name out of my name. out of where my native poetry lives. in me. and replace it with keats. browning. dickson. wolf. joyce. wilde. wolfe. plath. bronte. hemingway. hughes. byron. frost. cummings. kipling. poe. austen. whitman. blake. longfellow. wordsworth. duffy. twain. emerson. yeats. tennyson. auden. thoreau. chaucer. thomas. raliegh. marlowe. burns. shelley. carroll. elliot… (what is the necessity of a black child being this high off of whiteness.) and so. we are here. brown babies. worshipping. feeding. the glutton that is white literature. even after it dies. (years later. the conclusion: shakespeare is relative. white literature is relative. that we are force fed the meat of an animal that our bodies will not recognize. as inherent nutrition. is not relative. is inert.)

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the work­shop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Per­haps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons.

Having DID is, for many people, a very lonely thing. If this book reaches some people whose experiences resonate with mine and gives them a sense that they aren't alone, that there is hope, then I will have achieved one of my goals. A sad fact is that people with DID spend an average of almost seven years in the mental health system before being properly diagnosed and receiving the specific help they need. During that repeatedly misdiagnosed and incorrectly treated, simply because clinicians fail to recognize the symptoms. If this book provides practicing and future clinicians certain insight into DID, then I will have accomplished another goal. Clinicians, and all others whose lives are touched by DID, need to grasp the fundamentally illusive nature of memory, because memory, or the lack of it, is an integral component of this condition. Our minds are stock pots which are continuously fed ingredients from many cooks: parents, siblings, relatives, neighbors, teachers, schoolmates, strangers, acquaintances, radio, television, movies, and books. These are the fixings of learning and memory, which are stirred with a spoon that changes form over time as it is shaped by our experiences. In this incredibly amorphous neurological stew, it is impossible for all memories to be exact. But even as we accept the complex of impressionistic nature of memory, it is equally essential to recognize that people who experience persistent and intrusive memories that disrupt their sense of well-being and ability to function, have some real basis distress, regardless of the degree of clarity or feasibility of their recollections. We must understand that those who experience abuse as children, and particularly those who experience incest, almost invariably suffer from a profound sense of guilt and shame that is not meliorated merely by unearthing memories or focusing on the content of traumatic material. It is not enough to just remember. Nor is achieving a sense of wholeness and peace necessarily accomplished by either placing blame on others or by forgiving those we perceive as having wronged us. It is achieved through understanding, acceptance, and reinvention of the self.

Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line. There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.

The Idiot. I have read it once, and find that I don't remember the events of the book very well--or even all the principal characters. But mostly the 'portrait of a truly beautiful person' that dostoevsky supposedly set out to write in that book. And I remember how Myshkin seemed so simple when I began the book, but by the end, I realized how I didn't understand him at all. the things he did. Maybe when I read it again it will be different. But the plot of these dostoevsky books can hold such twists and turns for the first-time reader-- I guess that's b/c he was writing most of these books as serials that had to have cliffhangers and such. But I make marks in my books, mostly at parts where I see the author's philosophical points standing in the most stark relief. My copy of Moby Dick is positively full of these marks. The Idiot, I find has a few... Part 3, Section 5. The sickly Ippolit is reading from his 'Explanation' or whatever its called. He says his convictions are not tied to him being condemned to death. It's important for him to describe, of happiness: "you may be sure that Columbus was happy not when he had discovered America, but when he was discovering it." That it's the process of life--not the end or accomplished goals in it--that matter. Well. Easier said than lived! Part 3, Section 6. more of Ippolit talking--about a christian mindset. He references Jesus's parable of The Word as seeds that grow in men, couched in a description of how people are interrelated over time; its a picture of a multiplicity. Later in this section, he relates looking at a painting of Christ being taken down from the cross, at Rogozhin's house. The painting produced in him an intricate metaphor of despair over death "in the form of a huge machine of the most modern construction which, dull and insensible, has aimlessly clutched, crushed, and swallowed up a great priceless Being, a Being worth all nature and its laws, worth the whole earth, which was created perhaps solely for the sake of the advent of this Being." The way Ippolit's ideas are configured, here, reminds me of the writings of Gilles Deleuze. And the phrasing just sort of remidns me of the way everyone feels--many people feel crushed by the incomprehensible machine, in life. Many people feel martyred in their very minor ways. And it makes me think of the concept that a narrative religion like Christianity uniquely allows for a kind of socialized or externalized, shared experience of subjectivity. Like, we all know the story of this man--and it feels like our own stories at the same time. Part 4, Section 7. Myshkin's excitement (leading to a seizure) among the Epanchin's dignitary guests when he talks about what the nobility needs to become ("servants in order to be leaders"). I'm drawn to things like this because it's affirming, I guess, for me: "it really is true that we're absurd, that we're shallow, have bad habits, that we're bored, that we don't know how to look at things, that we can't understand; we're all like that." And of course he finds a way to make that into a good thing. which, it's pointed out by scholars, is very important to Dostoevsky philosophy--don't deny the earthly passions and problems in yourself, but accept them and incorporate them into your whole person. Me, I'm still working on that one.

...The spiritual Oriental teachers say a person has three forms of mind,'' Beatrice was explaining to him once, while they were on break between one lesson and another at university, ''which are the dense mind, the subtle level and the ultra-subtle mind. Primary Consciousness, or the dense mind, is that existential, Sartrean mind which is related to our senses and so it is guided directly by human primitive instincts; in Sanskrit, this is referred to as ālaya-vijñāna which is directly tied to the brain. The subtle mind comes into effect when we begin to be aware of our true nature or that which in Sanskrit is called Ātman or self-existent essence that eventually leads us to the spiritual dimension. Ultimately there is the Consciousness-Only or the Vijñapti-Mātra, an ultra-subtle mind which goes beyond what the other two levels of mind can fabricate, precisely because this particular mind is not a by-product of the human brain but a part of the Cosmic Consciousness of the Absolute, known in Sanskrit as Tathāgatagarbha, and it is at this profound level of Consciousness that we are able to achieve access to the Divine Wisdom and become one with it in an Enlightened State.'' ''This spiritual subject really fascinates me,'' the Professor would declare, amazed at the extraordinary knowledge that Beatrice possessed.'' ''In other words, a human being recognises itself from its eternal essence and not from its existence,'' Beatrice replied, smiling, as she gently touched the tip of his nose with the tip of her finger, as if she was making a symbolic gesture like when children are corrected by their teachers. ''See, here,'' she had said once, pulling at the sleeve of his t-shirt to make him look at her book. ''For example, in the Preface to the 1960 Notes on Dhamma, the Buddhist philosopher from the University of Cambridge, Ñāṇavīra Thera, maintains those that have understood Buddhist teachings have gone way beyond Existential Thought. And on this same theme, the German scholar of Buddhist texts, Edward Conze, said that the possible similarity that exists between Buddhist and Existential Thought lies only on the preliminary level. He said that in terms of the Four Noble Truths, or in Sanskrit Catvāri Āryasatyāni, the Existentialists have only the first, which teaches everything is ill. Of the second - which assigns the origin of ill to craving - they have a very imperfect grasp. As for the third and fourth, which consist of letting go of craving, and the Noble Eightfold Path that leads to liberation from the cycle of rebirth in the form of Nirvāṇa - these are unheard of. Knowing no way out, the Existentialists are manufacturers of their own woes...

People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!