Rope Play Quotes

It is a strange world, a sad world, a world full of miseries, and woes, and troubles. And yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall, all dance together to the music that he make with that smileless mouth of him. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come, and like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again, and we bear to go on with our labor, what it may be.

The storm had come out of nowhere, tossing the ship like a toy on the waves. The sea had played along until it had tired of the game, and dragged their boat under in a tangle of rope and sail and screaming men.

I dream a dream that won't let me sleep. and yet I can't let it go either. Hope & fears are playing a tug-of-war, and I'm the rope in between.

We knew the pain of winter rushing up your skirt, and the ache of keeping your knees together in class, and how drab and infuriating it was to jump rope while the boys played baseball. We could never understand why the girls cared so much about being mature, or why they felt compelled to compliment each other...

In my experience, the romance novels written about BDSM have about as much in common with actual BDSM relationships as a child playing with a jump rope.

Here you sit on your high-backed chair Wonder how the view is from there I wouldn't know 'cause I like to sit Upon the floor, yeah upon the floor If you like we could play a game Let's pretend that we are the same But you will have to look much closer Than you do, closer than you do And I'm far too tired to stay here anymore And I don't care what you think anyway 'Cause I think you were wrong about me Yeah what if you were, what if you were And what if I'm a snowstorm burning What if I'm a world unturning What if I'm an ocean, far too shallow, much too deep What if I'm the kindest demon Something you may not believe in What if I'm a siren singing gentlemen to sleep I know you've got it figured out Tell me what I am all about And I just might learn a thing or two Hundred about you, maybe about you I'm the end of your telescope I don't change just to suit your vision 'Cause I am bound by a fraying rope Around my hands, tied around my hands And you close your eyes when I say I'm breaking free And put your hands over both your ears Because you cannot stand to believe I'm not The perfect girl you thought Well what have I got to lose And what if I'm a weeping willow Laughing tears upon my pillow What if I'm a socialite who wants to be alone What if I'm a toothless leopard What if I'm a sheepless shepherd What if I'm an angel without wings to take me home You don't know me Never will, never will I'm outside your picture frame And the glass is breaking now You can't see me Never will, never will If you're never gonna see What if I'm a crowded desert Too much pain with little pleasure What if I'm the nicest place you never want to go What if I don't know who I am Will that keep us both from trying To find out and when you have Be sure to let me know What if I'm a snowstorm burning What if I'm a world unturning What if I'm an ocean, far too shallow, much too deep What if I'm the kindest demon Something you may not believe in What if I'm a siren singing gentlemen to sleep Sleep... Sleep...

Rope-skipping, hopscotch. That old woman in black who sat down next to me on my bench, on my rack of joy (a nymphet was groping under me for a lost marble), and asked if I had stomachache, the insolent hag. Ah, leave me alone in my pubescent park, in my mossy garden. Let them play around me forever. Never grow up.

We became acquainted with starry skies the girls had gazed at while camping years before, and the boredom of summers traipsing from back yard to front to back again, and even a certain indefinable smell that arose from toilets on rainy nights, which the girls called "sewery." We knew what it felt like to see a boy with his shirt off, and why it made Lux write the name Kevin in purple Magic Marker all over her three-ring binder and even on her bras and panties, and we understood her rage coming home one day to find that Mrs. Lisbon had soaked her things in Clorox, bleaching all the "Kevins" out. We knew the pain of winter wind rushing up your skirt, and the ache of keeping your knees together in class, and how drab and infuriating it was to jump rope while the boys played baseball. We could never understand why the girls cared so much about being mature, or why they felt compelled to compliment each other, but sometimes, after one of us had read a long portion of the diary out loud, we had to fight back the urge to hug one another or to tell each other how pretty we were. We felt the imprisonment of being a girl, the way it made your mind active and dreamy, and how you ended up knowing which colors went together. We knew that the girls were our twins, that we all existed in space like animals with identical skins, and that they knew everything about us though we couldn't fathom them at all. We knew, finally, that the girls were really women in disguise, that they understood love and even death, and that our job was merely to create the noise that seemed to fascinate them.

Keep it always with you that laughter who knock at your door and say, 'May I come in?' is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, 'I am here.' ... Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall - all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.

The music was linked with almost everything I had done, none of the records came without a memory. Everything that had happened in the last five years rose like steam from a cup when I played a record, not in the form of thoughts or reasoning, but as moods, openings, space. Some general, others specific. If my memories were stacked in a heap on the back of my life’s trailer, music was the rope that held them together and kept it, my life, in position.

And it should feel good to hear her music, it should feel right. After all, she has gone to visit pieces of her art so many times. But they were only pieces, stripped of context. Sculptured birds on marble plinths, and paintings behind ropes. Didactic boxes taped to whitewashed walls and glass boxes that keep the present from the past. It is a different thing when the glass breaks. It is her mother in the doorway, withered to bone. It is Remy in the Paris salon. It is Sam, inviting her to stay, every time. It is Toby Marsh, playing their song. The only way Addie knows how to keep going is to keep going forward. They are Orpheus, she is Eurydice, and every time they turn back, she is ruined.

We knew the pain of winter wind rushing up your skirt, and the ache of keeping your knees together in class, and how drab and infuriating it was to jump rope while the boys played baseball. We could never understand why the girls cared so much about being mature, or why they felt compelled to compliment each other, but sometimes, after one of us had read a long portion of the diary out loud, we had to fight back the urge to hug one another or to tell each other how pretty we were. We felt the imprisonment of being a girl, the way it made your mind active and dreamy, and how you ended up knowing which colors went together. We knew that the girls were our twins, that we all existed in space like animals with identical skins, and that they knew everything about us though we couldn’t fathom them at all. We knew, finally, that the girls were really women in disguise, that they understood love and even death, and that our job was merely to create the noise that seemed to fascinate them.

An elite college now is almost exclusively defined by how hard it is to get into. It's like the rope line at a hot nightclub—it's about having the ticket to get in. Students are blinded by the labels. But why does it matter whether you get into the club if you hate the music playing inside?

you use your whole body like you did when you played as a kid. Grown-up amusements don’t allow for crawling and wriggling, getting good and muddy, and tearing the knees of your pants.

1. Success is a choice. -Rick Pitino 2. Success in life comes not from holding a good hand, but in playing a poor hand well. -Warren Lester 3. I shall tell you a great secret, my friend. Do not wait for the last judgment; it takes place every day. -Albert Camus 4. If you're not fired up with enthusiasm, you'll be fired with enthusiasm. -Vince Lombardi 5. There is no security on this earth; there is only opportunity. -Douglas MacArthur 6. Yesterday's the past and tomorrow's the future. Today is a gift, which is why they call it the present. -Bill Keane 7. Show me a thoroughly satisfied man and I will show you a failure. -Thomas Edison 8. When you get to the end of your rope tie a knot and hang on. -Franklin D. Roosevelt 9. The best way to predict your future is to create it. -Author unknown 10. I always remember an epitaph which is in the cemetery at Tombstone, Arizona. It says, "Here lies Jack Williams. He done his damnedest." I think that is the greatest epitaph a man can have. -Harry S Truman 11. Triumph? Try Umph! -Author unknown 12. You hit home runs not by chance but by preparation. -Roger Maris 13. If you don't have enough pride, you're going to get your butt beat every play. -Gale Sayers 14. My mother taught me very early to believe I could achieve any accomplishment I wanted to. The first was to walk without braces. -Wilma Rudolph 15. You may have to fight a battle more than once to win it. -Margaret Thatcher

I'd been trying to turn my life into art, but I wasn't sure what form it should take. I played guitar with half-callused fingers, I found a discarded headboard on the side of the road and tied a hundred rope knots around it. I rented a studio so I could feel like an artist, and that worked for a while. I taped parts of essays to the wall in order to liberate them from my hard drive--to see them as whole. Rearranging them felt good, throwing them away felt even better. I was getting closer to saving only the most rapturous moments of my life. I disposed of memories until everything served me.

. As she stepped up to the stall door the two men inside turned at her approach. Her heart stopped in her chest. It couldn’t be—God couldn’t be that cruel to her. She blinked, certain her eyes were playing tricks on her, but no they weren’t, staring back at her was Chance Ryan. The man who had broken her heart ten years ago.

But we can certainly play hangman, the national preteen sport. I guess a letter, then another, then stumble on the third. My heart is not in the game. Grief surges over me. His face not two feet from mine, my son Théophile sits patiently waiting—and I, his father, have lost the simple right to ruffle his bristly hair, clasp his downy neck, hug his small, lithe, warm body tight against me. There are no words to express it. My condition is monstrous, iniquitous, revolting, horrible. Suddenly I can take no more. Tears well and my throat emits a hoarse rattle that startles Théophile. Don’t be scared, little man. I love you. Still engrossed in the game, he moves in for the kill. Two more letters: he has won and I have lost. On a corner of the page he completes his drawing of the gallows, the rope, and the condemned man.

Whats the Use of a Title?" They don’t make it the beautiful die in flame— suicide pills, rat poison, rope what— ever... they rip their arms off, throw themselves out of windows, they pull their eyes out of the sockets, reject love reject hate reject, reject. they don’t make it the beautiful can’t endure, they are butterflies they are doves they are sparrows, they don’t make it. one tall shot of flame while the old men play checkers in the park one flame, one good flame while the old men play checkers in the park in the sun. the beautiful are found in the edge of a room crumpled into spiders and needles and silence and we can never understand why they left, they were so beautiful. they don’t make it, the beautiful die young and leave the ugly to their ugly lives. lovely and brilliant: life and suicide and death as the old men play checkers in the sun in the park.

A string of multicolored Christmas lights roped around the length of the yard, and Ryan Adams played in the background.

My mother would let me outside to play on the sidewalk. Getting to know me better, she fastened me to the railing by a rope so I couldn't wander off or go into the street.

Playing Rachmaninoff was like walking on a rope bridge across a gorge with dreamy skies above and a raging, muddy river below.

Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles. And yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall, all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come, and like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again, and we bear to go on with our labor, what it may be.

My position was terrible. I knew that I could find nothing in the way of rational knowledge except a denial of life; and in faith I could find nothing except a denial of reason, and this was even more impossible than a denial of life. According to rational knowledge, it followed that life is evil, and people know it. They do not have to live, yet they have lived and they do live, just as I myself had lived, even though I had known for a long time that life is meaningless and evil. Try as he might, Tolstoy could identify only four means of escaping from such thoughts. One was retreating into childlike ignorance of the problem. Another was pursuing mindless pleasure. The third was “continuing to drag out a life that is evil and meaningless, knowing beforehand that nothing can come of it.” He identified that particular form of escape with weakness: “The people in this category know that death is better than life, but they do not have the strength to act rationally and quickly put an end to the delusion by killing themselves….” Only the fourth and final mode of escape involved “strength and energy. It consists of destroying life, once one has realized that life is evil and meaningless.” Tolstoy relentlessly followed his thoughts: Only unusually strong and logically consistent people act in this manner. Having realized all the stupidity of the joke that is being played on us and seeing that the blessings of the dead are greater than those of the living and that it is better not to exist, they act and put an end to this stupid joke; and they use any means of doing it: a rope around the neck, water, a knife in the heart, a train.

The girls were always trying to rope me in to their games, dressing me in costumes and making me perform in their plays. You have no idea how character-forming it is for a young boy to be forced to wear a wig and gown and have his cheeks rouged!

You said something slightly off-color about her shoes and she brought up the fact that you had a slow eye and danced like a goat with a rock stuck in its ass. Ouch. You would just be playing and homegirl would be coming down on you off the top rope.

She never would admit it, but she felt utterly exposed at El Redentor, all those pale eyes gnawing at her duskiness like locusts––and she didn't know how to handle such vulnerability. Did what had always saved her in the past. Was defensive and aggressive and mad overreactive. You said something slightly off-color about her shoes and she brought up the fact that you had a slow eye and danced like a goat with a rock stuck in its ass. Ouch. You would just be playing and homegirl would be coming down on you off the top rope.

The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.

They were locked into either arm, head resting on either breast. Their cries were soundless, but Akua could see the sound, floating out of their mouths like puffs of smoke from the fetish man’s favored pipe. Akua had the urge to hold them, and she reached out her hands to them. Her hands caught fire, but she touched them still. Soon she cradled them with her own burning hands, playing with the braided ropes of fire that made up their hair, their coal-black lips. She felt calm, happy even, that the firewoman had found her children again at last. And

I was, I knew full well, a creature composed of strange desires. They'd always been with me, these hungers. As a child I played villain in every game of 'capture the princess,' tying my pretty playmates up with jump ropes and spriting them away to my faux castle on the playground. I wrestled my friends to the ground in bursts of emotion, or punctuated kisses on the cheek with a sharp nip. It didn't help that I had absolutely no interest in pursuing companionship with boys in the same way I did girls, no matter how many limpid first dates I went on.

The six elephants stood, roped each by the foreleg side by side in the vast thirty-foot tent put up several days since for their comfort; their trunks peacefully swaying as the cowardie scuttled back and forth with limp forkloads of hay. Small puffs of steam came from their mouths. Their breath was sweet, filling the sun-warmed, crisp air; and their hides, soothed, clean and lustrous from the water, lay calm on their great hips like the skin of the moon. Only at the end of the line the great bull stirred a little, the towering back swathed and padded and the knowing eye blurred.

Below them the town was laid out in harsh angular patterns. The houses in the outskirts were all exactly alike, small square boxes painted gray. Each had a small, rectangular plot of lawn in front, with a straight line of dull-looking flowers edging the path to the door. Meg had a feeling that if she could count the flowers there would be exactly the same number for each house. In front of all the houses children were playing. Some were skipping rope, some were bouncing balls. Meg felt vaguely that something was wrong with their play. It seemed exactly like children playing around any housing development at home, and yet there was something different about it. She looked at Calvin, and saw that he, too, was puzzled.

He stood up suddenly. “Kala, baby girl, let that little boy out of those ropes right now. Now. I don’t care if you’re playing superheroes and villains.” He stalked over and came back with a small length of rope in his hand. “I have no idea where she got that,” Tag said with a shake of his head. “And I always knew Jesse’s kid would end up being a sub. Never tell Charlie I said that.

If you're on a tightrope, when you first set off you don't know how much play there is in the rope. But when you get into the middle, between the ages of twenty and forty, the thing rocks like mad and it's too late to go back, even to to look back. But if you go on as carefully as you can, you see the other platform and then you just make a dash for it, not bothering what the audience thinks, or waving your arms, or looking dangerous and difficult and prodigious. What you see when you get to the other side is, in fact, the edge of your coffin. And you get into it, and you lie down, and you think; my cuffs are frayed, I haven't written to my mother and all those other things. And then you think; it doesn't matter. Because I'm dead. And this is a message of hope. It will come to an end. It will come, we cannot be blamed for it and we shall be free

If you're on a tightrope, when you first set off you don't know how much play there is in the rope. But when you get into the middle, between the ages of twenty and forty, the thing rocks like mad and it's too late to go back, even to to look back. But if you go on as carefully as you can, you see the other platform and then you just make a dash for it, not bothering what the audience thinks, or waving your arms, or looking looking dangerous and difficult and prodigious. What you see when you get to the other side is, in fact, the edge of your coffin. And you get into it, and you lie down, and you think; my cuffs are frayed, I haven't written to my mother and all those other things. And then you think; it doesn't matter. Because I'm dead. And this is a message of hope. It will come to an end. It will come, we cannot be blamed for it and we shall be free.

80% of people’s complaints are about situations that can be changed in one day. The other 20% are about real complaints that can’t be changed, and then what does complaining about it do? So you’re unhappy about the situation you’re in? Change it. Now. Cut the ropes. Don’t text her back. Change your job. Learn a new skill. Sell your house and move to a new city. Start over. Get healthy, start running. Or play tennis. Or anything that gets you moving. Cut out processed food. Cut out sugar. Read books. Listen to audiobooks. Or watch YouTube videos. You live in a time where there are zero excuses. You can do anything you want! You want a new life? Well, you can have it? But no one will hand it to you on a silver plate, you will have to stand up from that couch and go get it yourself. Because no one else cares. No one cares about how you live your life but you.

He overheard the director talking to one of the cameramen. The cameraman was explaining that he couldn’t get a good long shot on the exterior because someone had set up a fake graveyard right in the plaza. “Kids just playing around, I guess, but it’s morbid; we’ll have to get rid of it, maybe bring in some sod to—” “No,” Albert said. “We’re almost ready for you,” the director assured him. “That’s not a fake graveyard. Those aren’t fake graves. No one was playing around.” “You’re saying those . . . those are actually . . .” “What do you think happened here?” Albert asked in a soft voice. “What do you think this was?” Absurdly, embarrassingly, he had started to cry. “Those are kids buried there. Some of them were torn apart, you know. By coyotes. By . . . by bad people. Shot. Crushed. Like that. Some of those kids in the ground there couldn’t take it, the hunger and the fear . . . some of those kids out there had to be cut down from the ropes they used to hang themselves. Early on, when we still had any animals? I had a crew go out and hunt down cats. Cats and dogs and rats. Kill them. Other kids to skin them . . . cook them up.” There were a dozen crew people in the McDonald’s. None spoke or moved. Albert brushed away tears and sighed. “Yeah. So don’t mess with the graves. Okay? Other than that, we’re good to go.

I couldn't stand boy companions," he [Jules Feiffer] wrote in his 1965 essay " The Great Comic Book Heroes. "Robin was my own age. One need only look at him to see he could fight better, swing from a rope better, play ball better, eat better and live better...He was obviously an A student, the center of every circle, the one picked for greatness in the crowd—God, how I hate him. You can imagine how please I was when, years later, I heard he was a fag.

Just then, a tinkling, and the flock of black and gray aristocratic goats rounded the wall of the corral with the little leprechaun of a blue-eyed milkman, in patched faded dungarees, rope sandals, and sombrero; he looked happy and pleasant; let us come into corral; new world; his world. Goats at home in bare, neat yard, drank out of water pails; black and white spotted kid. Two goats butted; one rising on hillock as if strung up from neck, poised, hung, butting down on other; playing.

As a bucket let down or hauled up a well by a windlass touches the rope or the sides every now and then, there was not a personage, hardly even an event in my life, which had not at one time or another played different parts. If, after years I rediscovered the simplest social relationship or even a material object in my memory, I perceived that life had been ceaselessly weaving threads about it which in the end became a beautiful velvet covering like the emerald sheath of a water-conduit in an ancient park.

When Theo would laugh or guffaw beneath the spreading canopy of Red, Shadow knew he had accomplished his job. The gray mask of civilization had fallen from the boy. Death left his eyes. Blood returned to his cheeks. There was song in his voice. Together, dog and master were once again in the huff and roar of the natural, bliss-filled world. They played ball, Shadow fetched rope, and, weather permitting, they swam in the sea. They proved once more what the ancients knew in the magical first world—that there was peace in play.

Barbara and I had arrived early, so I got to admire everyone’s entrance. We were seated at tables around a dance floor that had been set up on the lawn behind the house. Barbara and I shared a table with Deborah Kerr and her husband. Deborah, a lovely English redhead, had been brought to Hollywood to play opposite Clark Gable in The Hucksters. Louis B. Mayer needed a cool, refined beauty to replace the enormously popular redhead, Greer Garson, who had married a wealthy oil magnate and retired from the screen in the mid-fifties. Deborah, like her predecessor, had an ultra-ladylike air about her that was misleading. In fact, she was quick, sharp, and very funny. She and Barbara got along like old school chums. Jimmy Stewart was also there with his wife. It was the first time I’d seen him since we’d worked for Hitchcock. It was a treat talking to him, and I felt closer to him than I ever did on the set of Rope. He was so genuinely happy for my success in Strangers on a Train that I was quite moved. Clark Gable arrived late, and it was a star entrance to remember. He stopped for a moment at the top of the steps that led down to the garden. He was alone, tanned, and wearing a white suit. He radiated charisma. He really was the King. The party was elegant. Hot Polynesian hors d’oeuvres were passed around during drinks. Dinner was very French, with consommé madrilène as a first course followed by cold poached salmon and asparagus hollandaise. During dessert, a lemon soufflé, and coffee, the cocktail pianist by the pool, who had been playing through dinner, was discreetly augmented by a rhythm section, and they became a small combo for dancing. The dance floor was set up on the lawn near an open bar, and the whole garden glowed with colored paper lanterns. Later in the evening, I managed a subdued jitterbug with Deborah Kerr, who was much livelier than her cool on-screen image. She had not yet done From Here to Eternity, in which she and Burt Lancaster steamed up the screen with their love scene in the surf. I was, of course, extremely impressed to be there with Hollywood royalty that evening, but as far as parties go, I realized that I had a lot more fun at Gene Kelly’s open houses.

Randall and Junior and I have been sitting in the yard for the past hour or so, jobs done; the house is too dark, too hot. It is a closed fist. Junior had been playing with an old extension cord, using it like a rope. He'd kept tying it to trees and twirling the cord like a jump rope. The tree was his partner, but he had no one to jump in the middle. Finally Randall untied the cord and I walked over and grabbed the other end. While the sky was darkening, the sun shining more fitfully through the clouds, we turned the cord for Junior and he jumped in the dust.

Rollan flew forward, banging into Meilin. She grabbed him, trying to keep upright, and he grabbed her, trying to keep from falling. And for a moment they stood there, covered in leather and furs, and beneath it two people who were, essentially, embracing. “Sorry,” Rollan said. But she didn’t let go. He turned his face slightly, and the openings of their hoods brushed together. Her face was very close. Instinctively his mind whirled, searching for something teasing to say. But Abeke beat him to it. “If you two are done playing kissy-face,” she said, tugging on the rope. Meilin and Rollan both pushed away from each other and began walking again.

He wanted nothing more than to close his eyes and relish the coolness, but all he could afford to do was cough some smoke out of his lungs and turn back to the task at hand. Which apparently included scolding a certain hardheaded woman for not heeding his instructions. Meredith glared at him from where she stood pumping water into the trough, not a hint of apology in her demeanor. Travis stormed past her and worked the knot on Jochebed’s lead line. “I thought I told you to go up to the house.” The pump arm creaked as she gave it a series of vigorous yanks, then fell silent as water gushed into the trough. “As I recall,” she said, rubbing her palms into her skirt, “you never forbade me from working the pump. You simply expressed your doubts as to my ability to do so.” Travis’s grip on the cow’s rope tightened. “Don’t play word games with me, Meredith. You knew what I meant.” “Did I?” She reached for a stew pot and dipped it into the trough. “Seems to me that a man who claims protecting his brothers and his land always comes first wouldn’t be so quick to refuse able-bodied help just because that body happens to be female.” She set the full pot on the ground and crossed her arms over her chest. Travis’s eyes followed the movement, noting the curves it accentuated. Yep. Definitely female. He wouldn’t be arguing that point.

There was one moment of everlasting shame, deeply imprinted on my mind about this time, when we were staying in the country, and M and Aunt Billy came out into the garden where I was playing, and they carried skipping-ropes. Suddenly they both took the pins out of their hair and let the hair flow upon their shoulders, and then they jumped up and down, skipping, as children might do. I felt myself go scarlet. I bent down to the ground, not to see them, and began to search for pebbles in the gravel path. The lower I bent the more they skipped and laughed. Were they doing it on purpose? It was terrible to think of the loose hair and the jumping feet. They had changed from safe people into strangers. Hide me, hide me.…

Though she had spoken only rarely and had had no real friends, everybody possessed his own vivid memories of Cecilia. Some of us had held her for five minutes as a baby while Mrs. Lisbon ran back into the house to gether purse. Some of us had played in the sandbox with her, fighting over a shovel, or had exposed ourselves to her behind the mulberry tree that grew like deformed flesh through the chain link fence. We had stood in line with her for smallpox vaccinations, had held polio sugar cubes under our tongues with her, had taught her to jump rope, to light snakes, had stopped her from picking her scabs on numerous occasions, and had cautioned her against touching her mouth to the drinking fountain at Three Mile Park. A few of us had fallen in love with her, but had kept it to ourselves, knowing that she was the weird sister.

There's always a rotation of submissives in their stables. Most of them are returners—you know, their partner stables them there for a week or a month, or they present themselves for a term. A small percentage are there just to do a brief stint, and some are open to play with members, not just the trainers. After law school I spent a couple months at Reservation as a trainer, but now I'm just a member." Mark smiled. "A wet, yielding woman in leather straps, hobbled and half-blinded and doing her best to high-step for you while you do your damnedest to make her buttocks quiver under the whip and her tits dance as she flies across the pen? And then taking her down in the soft dirt and riding her hard, then putting her away wet so she's eager and hungry every damn time you walk into her stall and show her the ropes again. Few things are better in life.

Again, the publick shewed that they would bear their share in these things; the very Court, which was then gay and luxurious, put on a face of just concern for the publick danger. All the plays and interludes which, after the manner of the French Court, had been set up and began to increase among us, were forbid to act; the gaming tables, publick dancing rooms, and music houses, which multiplied and began to debauch the manners of the people, were shut up and suppressed; and the jack-puddings, merry-andrews, puppet-shows, rope-dancers, and such-like doings, which had bewitched the poor common people, shut up their shops, finding indeed no trade; for the minds of the people were agitated with other things, and a kind of sadness and horror at these things sat upon the countenances even of the common people. Death was before their eyes, and everybody began to think of their graves, not of mirth and diversions.

It's been like this for as long as I can remember- every once in a while, there comes a time where I have to step into a ring and fight Death. It's a recurring appointment, with no pattern and no proxies. You can't fight it for me, you can only watch from outside the ropes and I know that is a terrifying place to stand, helpless and with futile hands. I know that, every time, it looks like I'm going to lose[...] Death is friendly, casual with its grin. It is patient, it knows that no matter how many fights we have, it will win the last one. Each time, I fight for my life. Each time, it fights for sport, out of habit, for destiny. I have been alive more than thirty years; I am undefeated in this ring. I wish you could see that about me[...] I wish you could see the tenacity I have, the iron jaw locked onto life, the fact that Death has never won, that I am a champion in one of the most brutal games anyone could be playing.

Getting comfortable, he slipped off his suit jacket and made one last call for the night. “So? Is Jordan on board?” Davis asked. “Of course. Eckhart’s not going to slip away that easily. But there’s a catch.” Nick eased onto the bed. “I’m calling in that favor you owe me. The one that just tripled in magnitude because of this mess you roped me into.” Davis sounded surprised. And a little suspicious. “What kind of favor?” “Do we still have Agent Griegs in play?” Nick asked. “Yes. Why?” “This will involve him, too.” Davis sighed. “I’m not going to like this favor, am I?” “Probably not,” Nick said. “But I debated between this and having you call my mother to explain that it’s your fault I can’t make it to her sixtieth birthday party. You pick. But I should warn you: my mother is Italian. New York Italian, which is like being five hundred percent Italian.” Davis swore under his breath. “The hell with that. I’ll get ahold of Griegs.

CREONTA: Rope! My rope! Hang those two thieves by the neck until they are dead. THE ROPE: Alack, but vile and ill-natured female! Upon wherein did thine affections tarry when I didst but lie here and rot for many a year? Nay, but those fellows tooketh care to remove the wetness that didst plagueth me of late and hath laid me upon the cool ground to revel in a state of dryness. Nay, I wouldst not delay them in their noble course for all thine base and bestial howling. CREONTA: Then, you, dearest donkey, precious beast of burden, tear those two apart and eat their flesh! DONKEY: Nay, but alas for many a season didst you but keep the food of the tummy from me and my mouth when it was that I required it of you. These fine gentlemen of fortune didst but give me carrots of which to partake which I did most verily and forthsoothe with merriment. I havest decided that thou dost suck most verily and no longer will I layth the smackth down in thine name but will rather let such gentlemen as these go free of themselves. TRUFFALDINO: [To the audience.] Well, what do you know? Fakespeare!

I thought we might even retell some of the stories she used to invent for us." "Like the one about the gate at the bottom of the garden that led to fairyland." "And the dragon eggs she found in the woods." "And the time she ran away to join the circus." "Do you remember," said Iris suddenly, "the circus we had here?" "My circus," said Daphne, beaming from behind her wineglass. "Well, yes," Iris interjected, "but only because-" "Because I'd had the horrid measles and missed the real circus when it came to town." Daphne laughed with pleasure at the memory. "She got Daddy to build a tent at the bottom of the meadow, remember, and organized all of you to be clowns. Laurel was a lion, and Mummy walked the tightrope." "She was rather good at that," said Iris. "Barely fell off the rope. She must've practiced for weeks." "Or else her story was true and she really did spend time in the circus," said Rose. "I can almost believe it of Mummy." Daphne gave a contented sigh. "We were lucky to have a mother like ours, weren't we? So playful, almost as if she hadn't fully grown up, not at all like other people's boring old mothers.

Last Thoughts On Woody Guthrie When yer head gets twisted and yer mind grows numb When you think you're too old, too young, too smart or too dumb When yer laggin' behind an' losin' yer pace In a slow-motion crawl of life's busy race No matter what yer doing if you start givin' up If the wine don't come to the top of yer cup If the wind's got you sideways with with one hand holdin' on And the other starts slipping and the feeling is gone And yer train engine fire needs a new spark to catch it And the wood's easy findin' but yer lazy to fetch it And yer sidewalk starts curlin' and the street gets too long And you start walkin' backwards though you know its wrong And lonesome comes up as down goes the day And tomorrow's mornin' seems so far away And you feel the reins from yer pony are slippin' And yer rope is a-slidin' 'cause yer hands are a-drippin' And yer sun-decked desert and evergreen valleys Turn to broken down slums and trash-can alleys And yer sky cries water and yer drain pipe's a-pourin' And the lightnin's a-flashing and the thunder's a-crashin' And the windows are rattlin' and breakin' and the roof tops a-shakin' And yer whole world's a-slammin' and bangin' And yer minutes of sun turn to hours of storm And to yourself you sometimes say "I never knew it was gonna be this way Why didn't they tell me the day I was born" And you start gettin' chills and yer jumping from sweat And you're lookin' for somethin' you ain't quite found yet And yer knee-deep in the dark water with yer hands in the air And the whole world's a-watchin' with a window peek stare And yer good gal leaves and she's long gone a-flying And yer heart feels sick like fish when they're fryin' And yer jackhammer falls from yer hand to yer feet And you need it badly but it lays on the street And yer bell's bangin' loudly but you can't hear its beat And you think yer ears might a been hurt Or yer eyes've turned filthy from the sight-blindin' dirt And you figured you failed in yesterdays rush When you were faked out an' fooled white facing a four flush And all the time you were holdin' three queens And it's makin you mad, it's makin' you mean Like in the middle of Life magazine Bouncin' around a pinball machine And there's something on yer mind you wanna be saying That somebody someplace oughta be hearin' But it's trapped on yer tongue and sealed in yer head And it bothers you badly when your layin' in bed And no matter how you try you just can't say it And yer scared to yer soul you just might forget it And yer eyes get swimmy from the tears in yer head And yer pillows of feathers turn to blankets of lead And the lion's mouth opens and yer staring at his teeth And his jaws start closin with you underneath And yer flat on your belly with yer hands tied behind And you wish you'd never taken that last detour sign And you say to yourself just what am I doin' On this road I'm walkin', on this trail I'm turnin' On this curve I'm hanging On this pathway I'm strolling, in the space I'm taking In this air I'm inhaling Am I mixed up too much, am I mixed up too hard Why am I walking, where am I running What am I saying, what am I knowing On this guitar I'm playing, on this banjo I'm frailin' On this mandolin I'm strummin', in the song I'm singin' In the tune I'm hummin', in the words I'm writin' In the words that I'm thinkin' In this ocean of hours I'm all the time drinkin' Who am I helping, what am I breaking What am I giving, what am I taking But you try with your whole soul best Never to think these thoughts and never to let Them kind of thoughts gain ground Or make yer heart pound ...

Confiding Julie, the first to get breasts, was cynical by Thanksgiving. Since no one else looked like the class slut, she was given the position, and she soon capitulated. She bleached her hair with Sun In, and started to mess around with boys who played in garage rock bands. Marianne, because she had long legs and a stem neck, rushed from school to her pliés at the barre, her hair in a bun, her head held high, to arch and sweep and bow toward the mirror until night fell. Cara delivered her audition piece flat, but since she had a wheat-colored rope of braid that brushed her waist, she would be Titania in the school play. Emily, bluntnosed and loud, could outact Cara in her sleep; when she saw the cast list she turned silently to her best friend, who handed her a box of milk chocolate creams. Tall, strong, bony Evvy watched Elise try out her maddening dimple. She cornered her outside class to ask her if she thought she was cute. Elise said yes, and Evvy threw a pipette of acid, stolen from the biology lab, in her face. Dodie hated her tight black hair that wouldn’t grow. She crept up behind blond Karen in home ec class and hacked out a fistful with pinking shears. Even Karen understood that it wasn’t personal.

Blocks of flats could change everything, thought Mma Ramotswe. They were designed for people, but people were not necessarily designed for them. These flats at the edges of the Village, though, were made more human by the washing that was hung out to dry from their balconies; by the children who congregated in their doorways, or played with skipping ropes and dogs on their pathways; by the music that the residents listened to, melodies that drifted out of the open windows and throbbed with life. All of this made it harder for large new buildings to deaden the human spirit. It was like the bush: you could clear it and build something where once there had been nothing but trees and grass and termite mounds, but if you turned your back for a moment, Africa would begin to reclaim what had always been hers. The grass would encroach, its seeds carried by the wind; birds would drop the seeds of saplings that would then send tiny shoots up out of the ground; the termites would marshal their exploratory troops to begin rebuilding their own intricate cities of mud in the very places they had claimed once before. And sooner or later the bush would have covered all your efforts and it would be as it was before, the wound on nature completely healed.

As many as three characters were murdered in a single quarter-hour ILAM episode. People were killed in ghoulish, imaginative, and sometimes mystifying ways. Throats were ripped out by wolves; there were garrotings and poisonings and mysterious slashings. In the story Monster in the Mansion, a headless black cat was found in a lady’s bed, and a man had his arm amputated while he slept; in The Thing That Cries in the Night, a slasher was at work in an old mansion, and murder was done to the cry of a baby, while everyone insisted that there had been no baby in the house for twenty years. Temple of Vampires was considered so vivid in its Hollywood heyday that the Nicaraguan government lodged a protest. The show was framed with unforgettable signatures: the wail of a train, the sting of an organ, and the haunting Valse Triste, a shimmering theme suggesting death. The chime of a clock brought listeners back to the hour when last they left their heroes. The theme played under the ominous recap: Twelve midnight, high on the ledge above the floor of the Temple of Vampires, somewhere in the jungles of Central America. Jack and Doc Long are facing one of the strangest, most hair-raising moments in their experience. They’re out in the center of the temple, each clinging to separate ropes 50 feet in the air. There is only one chance for Jack and Doc.

Look. It's the condition our condition is in. Everybody wants the life of a black man. White men want us dead or quiet - which is the same thing as dead. White women, same thing. They want us, you know, 'universal,' human, no 'race consciousness.' Tame, except in bed. They like a little racial loincloth in the bed. But outside the bed they want us to be individuals. You tell them, 'But they lynched my papa,' and they say, 'Yeah, but you're better than the lynchers are, so forget it.' And black women, they want your whole self. Love, they call it, and understanding. 'Why don't you understand me?' What they mean is, Don't love anything on earth except me. They say, 'Be responsible,' but what they mean is, Don't go anywhere where I ain't. You try to climb Mount Everest, they'll tie up your ropes. Tell them you want to go to the bottom of the sea - just for a look - they'll hide your oxygen tank. Or you don't even have to go that far. Buy a horn and say you want to play. Oh, they love the music, but only after you pull eight at the post office. Even if you make it, even if you stubborn and mean and you get to the top of Mount Everest, or you do play and you good, real good - that still ain't enough. You blow your lungs out on the horn and they want what breath you got left to hear about how you love them. They want your full attention. Take a risk and they say you not for real. That you don't love them. They won't even let you risk your own life, man, your own life - unless it's over them. You can't even die unless it's about them. What good is a man's life if he can't even choose what to die for?

When Bill was a fluffy white blob, the lassie rose and started to dry her thick hair, darkened to milky coffee with rain. Lyle struggled not to notice how the brisk movement of her arms jiggled her generous bosom against her thin blouse. He had a liking for small, curvy women. Or at least he did now. After draping his wet, crumpled towel over another chair, Lyle straightened and stared at his adorably disheveled companion. “Shouldn’t we introduce ourselves?” She lowered the towel from her hair and regarded him with unreadable eyes. To his complete amazement, she dropped into a curtsy. “My name is Flora, sir. I’m a housemaid here.” With difficulty, he stifled a scoffing laugh. His intelligence mustn’t have impressed her. That lie wouldn’t convince the county’s greatest blockhead. Not least because she spoke with a clipped upper-class accent and her hands, while undoubtedly competent, were as smooth and unblemished as any lady’s. “Flora…” he said in a thoughtful voice, studying the wee besom and trying to make sense of this latest twist in their interactions. “Yes, sir,” she said, dropping her gaze with unconvincing humility. What the devil was she playing at, Sir John Warren’s beautiful only child? She’d kept him guessing from the first, which promised interesting times to come. Last week in his London club, her father had offered this girl to Lyle as his bride. Intrigued and faintly annoyed that she judged him daft enough to swallow this twaddle, Lyle decided to allow her enough rope to hang herself. Plastering an ingenuous smile on his face, he stepped closer. “I’m delighted to meet you, Miss Flora. My name is Smith. Ebenezer Smith.

Henry had taught Eddie how to play basketball in the playground near the apartment building where they lived--this was in a cement suburb where the towers of Manhattan stood against the horizon like a dream and the welfare check was king. Eddie was eight years younger than Henry and much smaller, but he was also much faster. He had a natural feel for the game; once he got on the cracked, hilly cement of the court with the ball in his hands, the moves seemed to sizzle in his nerve-endings. He was faster, but that was no big deal. The big deal was this: he was BETTER than Henry. If he hadn't known it from the results of the pick-up games in which they sometimes played, he would have known it from Henry's thunderous looks and the hard punches to the upper arm Henry often dealt out on their way home afterwards. These punches were supposedly Henry's little jokes--"Two for flinching!" Henry would cry cheerily, and then whap-whap into Eddie's bicep with one knuckle extended--but they didn't FEEL like jokes. They felt like warnings. They felt like Henry's way of saying You better not fake me out and make me look stupid when you drive for the basket; you better remember that I'm Watching Out for You. The same was true with reading...baseball...Ring-a-Levio...math...even jump-rope, which was a girl's game. That he was better at these tings, or COULD be better, was a secret that had to be kept at all costs. Because Eddie was the younger brother. Because Henry was Watching Out for him. But the most important part of the underneath reason was also the simplest: these things had to be kept secret because Henry was Eddie's big brother, and Eddie adored him.

Among the people who asked about them was Bradley Cooper, thanks to Jason, who’d championed Chris and the book. Cooper was already a huge star, one who had a reputation for taking big risks and trying a variety of roles (including one in the TV series Alias the connection I promised earlier). None of that was important to Chris. If there was a movie, he wanted the actor who portrayed him to be a true American. He couldn’t stand actors who would make unpatriotic statements against the war and then turn around and do war films. He’d told Jim he didn’t want a hypocrite playing him. I think he would have chosen not to let a movie be done rather than agree to let people proceed with it whom he didn’t consider patriotic. And so for Chris, the most impressive thing about Bradley Cooper was not his acting ability or the enormous research he put into his roles, but the work he’d done helping veterans. He was a supporter of Got Your 6, an organization that helps veterans reintegrate into family life and their communities. He had also done some USO tours. I couldn’t imagine a better match. Still, Chris didn’t just say okay. He talked to Bradley before deciding to let him option the book and his life rights. I remember Chris coming out of his home office after the final conversation. He was smiling; Bradley had a great sense of humor, which was probably the first thing they bonded over. “How’d it go?” I asked. “Went good. I told him, ‘My only concern with you, Bradley--I might have to tie you up with a rope and pull you behind my truck to knock some of the pretty off you.” Bradley laughed. Still, he did just about everything short of that to prepare for the movie. He grew a beard, studied photos and videos, and worked out like a madman, getting himself into the proper shape to play a SEAL in the movie.

Of course L has not been reading the Odyssey the whole time. The pushchair is also loaded with White Fang, VIKING!, Tar-Kutu: Dog of the Frozen North, Marduk: Dog of the Mongolian Steppes, Pete: Black Dog of the Dakota, THE CARNIVORES, THE PREDATORS, THE BIG CATS and The House at Pooh Corner. For the past few days he has also been reading White Fang for the third time. Sometimes we get off the train and he runs up and down the platform. Sometimes he counts up to 100 or so in one or more languages while eyes glaze up and down the car. Still he has been reading the Odyssey enough for a straw poll of Circle Line opinion on the subject of small children & Greek. Amazing: 7 Far too young: 10 Only pretending to read it: 6 Excellent idea as etymology so helpful for spelling: 19 Excellent idea as inflected languages so helpful for computer programming: 8 Excellent idea as classics indispensable for understanding of English literature: 7 Excellent idea as Greek so helpful for reading New Testament, camel through eye of needle for example mistranslation of very similar word for rope: 3 Terrible idea as study of classical languages embedded in educational system productive of divisive society: 5 Terrible idea as overemphasis on study of dead languages directly responsible for neglect of sciences and industrial decline and uncompetitiveness of Britain: 10 Stupid idea as he should be playing football: 1 Stupid idea as he should be studying Hebrew & learning about his Jewish heritage: 1 Marvellous idea as spelling and grammar not taught in schools: 24 (Respondents: 35; Abstentions: 1,000?) Oh, & almost forgot: Marvellous idea as Homer so marvellous in Greek: 0 Marvellous idea as Greek such as marvellous language: 0 Oh & also: Marvellous idea but how did you teach it to a child that young: 8

Better cut them down.” Roshar took his turn. “The wood’s undergrowth might be enough to screen us if we lie low.” Kestrel clicked her teeth; an eastern, irritated sort of sound. “You learned that from me,” the prince said, pleased. “Now tell the truth. Did you mark the cards?” Coolly, she said, “I never cheat.” “We can’t cut the trees down,” Arin said. “Concentrate,” Kestrel told the prince, sweeping up the card he’d tossed down. “To be clear, I’m letting you win. I let you win all the time.” “Obviously we can’t cut them down,” she said. “My father will notice a sudden swath of felled trees. We might as well paint a sign telling him we’re there.” “Or…” Arin said. She glanced at him. “What are you thinking?” “How much rope do we have?” “Two hundred and twelve lengths.” Roshar said, “You’ve been going over our supplies?” “Yes,” she said. “Could you rattle off the units by heart?” “Yes.” “How many sacks of grain for horses?” “Sixty-two. Play your card. You might as well. You’re going to lose regardless.” “Attempts to distract her usually don’t work,” Arin told him. “You play the winner, then,” Roshar said, “so that I may observe your technique.” Arin checked the rabbit again, pulled it off the fire. “No.” A surprised disappointment twitched, insect-like, inside Kestrel’s chest. Roshar said, “Why not?” Arin sliced meat off the bone onto a tin plate. Kestrel, who wasn’t entirely sure she wanted to hear Arin’s answer, said, “Why do you want rope?” “Let Arin surprise us,” Roshar said. “That’s how we do things. He comes up with something brilliant and I take the credit.” “Tell me,” Kestrel said. Arin set down the plate. “I won’t play you because even when I win, I lose. It’s never been just a game between us.” Roshar, who was stretched out on his side on the grass, elbow crooked, cheek pilowed on his palm, raised his brows at Kestrel. “I meant about the rope,” she muttered. Roshar’s gaze slid between her and Arin. “Yes, the rope. Why don’t we talk about that after all, shall we?

against the velvet rope force fields that kept everyone without an invitation at bay. As I walked toward the entrance, the crowd bombarded me with a mix of insults, autograph requests, death threats, and tearful declarations of undying love. I had my body shield activated, but surprisingly, no one took a shot at me. I flashed the cyborg doorman my invitation, then mounted the long crystal staircase leading up into the club. Entering the Distracted Globe was more than a little disorienting. The inside of the giant sphere was completely hollow, and its curved interior surface served as the club’s bar and lounge area. The moment you passed through the entrance, the laws of gravity changed. No matter where you walked, your avatar’s feet always adhered to the interior of the sphere, so you could walk in a straight line, up to the “top” of the club, then back down the other side, ending up right back where you started. The huge open space in the center of the sphere served as the club’s zero-gravity “dance floor.” You reached it simply by jumping off the ground, like Superman taking flight, and then swimming through the air, into the spherical zero-g “groove zone.” As I stepped through the entrance, I glanced up—or in the direction that was currently “up” to me at the moment—and took a long look around. The place was packed. Hundreds of avatars milled around like ants crawling around the inside of a giant balloon. Others were already out on the dance floor—spinning, flying, twisting, and tumbling in time with the music, which thumped out of floating spherical speakers that drifted throughout the club. In the middle of all the dancers, a large clear bubble was suspended in space, at the absolute center of the club. This was the “booth” where the DJ stood, surrounded by turntables, mixers, decks, and dials. At the center of all that gear was the opening DJ, R2-D2, hard at work, using his various robotic arms to work the turntables. I recognized the tune he was playing: the ’88 remix of New Order’s “Blue Monday,” with a lot of Star Wars droid sound samples mixed in. As I made my way to the nearest bar, the avatars I passed all stopped to stare and point in

Ah, you don’t comprehend, friend John. Do not think that I am not sad, though I laugh. See, I have cried even when the laugh did choke me. But no more think that I am all sorry when I cry, for the laugh he come just the same. Keep it always with you that laughter who knock at your door and say, ‘May I come in?’ is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, ‘I am here.’ Behold, in example I grieve my heart out for that so sweet young girl; I give my blood for her, though I am old and worn; I give my time, my skill, my sleep; I let my other sufferers want that so she may have all. And yet I can laugh at her very grave—laugh when the clay from the spade of the sexton drop upon her coffin and say ‘Thud! thud!’ to my heart, till it send back the blood from my cheek. My heart bleed for that poor boy—that dear boy, so of the age of mine own boy had I been so blessed that he live, and with his hair and eyes the same. There, you know now why I love him so. And yet when he say things that touch my husband-heart to the quick, and make my father-heart yearn to him as to no other man—not even to you, friend John, for we are more level in experiences than father and son—yet even at such moment King Laugh he come to me and shout and bellow in my ear, ‘Here I am! here I am!’ till the blood come dance back and bring some of the sunshine that he carry with him to my cheek. Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall—all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.

But there were problems. After the movie came out I couldn’t go to a tournament without being surrounded by fans asking for autographs. Instead of focusing on chess positions, I was pulled into the image of myself as a celebrity. Since childhood I had treasured the sublime study of chess, the swim through ever-deepening layers of complexity. I could spend hours at a chessboard and stand up from the experience on fire with insight about chess, basketball, the ocean, psychology, love, art. The game was exhilarating and also spiritually calming. It centered me. Chess was my friend. Then, suddenly, the game became alien and disquieting. I recall one tournament in Las Vegas: I was a young International Master in a field of a thousand competitors including twenty-six strong Grandmasters from around the world. As an up-and-coming player, I had huge respect for the great sages around me. I had studied their masterpieces for hundreds of hours and was awed by the artistry of these men. Before first-round play began I was seated at my board, deep in thought about my opening preparation, when the public address system announced that the subject of Searching for Bobby Fischer was at the event. A tournament director placed a poster of the movie next to my table, and immediately a sea of fans surged around the ropes separating the top boards from the audience. As the games progressed, when I rose to clear my mind young girls gave me their phone numbers and asked me to autograph their stomachs or legs. This might sound like a dream for a seventeen-year-old boy, and I won’t deny enjoying the attention, but professionally it was a nightmare. My game began to unravel. I caught myself thinking about how I looked thinking instead of losing myself in thought. The Grandmasters, my elders, were ignored and scowled at me. Some of them treated me like a pariah. I had won eight national championships and had more fans, public support and recognition than I could dream of, but none of this was helping my search for excellence, let alone for happiness. At a young age I came to know that there is something profoundly hollow about the nature of fame. I had spent my life devoted to artistic growth and was used to the sweaty-palmed sense of contentment one gets after many hours of intense reflection. This peaceful feeling had nothing to do with external adulation, and I yearned for a return to that innocent, fertile time. I missed just being a student of the game, but there was no escaping the spotlight. I found myself dreading chess, miserable before leaving for tournaments. I played without inspiration and was invited to appear on television shows. I smiled.

newer marshals,” Newman added. “I was glad when they invited them to teach you new guys. That much field experience shouldn’t go to waste.” “A lot of them are stake-and-hammer guys though,” Newman said. “Old-fashioned doesn’t begin to cover their methods.” “The hunter that taught me the ropes was like that.” “I thought Forrester was your mentor. He’s known for his gun knowledge,” Livingston said. “You get that off his Wikipedia page?” I asked. “No, he worked a case that a buddy of mine was on. My friend is a gun nut, and he loved Forrester’s arsenal. He said that Forrester even used a flamethrower.” “Yep, that’s Ted,” I said, shaking my head. “So, he wasn’t your first mentor?” “No, Manny Rodriguez was. He taught me how to raise zombies and how to kill vampires.” “What happened to him?” Newman asked. “His wife thought he was getting too old and forced him to retire from the hunting side of things.” “It is not a job for old men,” Olaf said. “I guess it isn’t, but I wasn’t ready to fly solo when Manny retired. I was lucky I didn’t get killed doing jobs on my own at first.” “When did Forrester start training you?” Livingston asked. “Soon enough to help me stay alive.” “Ted spoke highly of you from the beginning,” Olaf said. “He does not give unearned praise. Are you being humble?” “No, I don’t . . . I really did have some close calls when Manny first retired, or maybe I just missed having backup.” Hazel brought our coffee and my Coke. “I’ll be back to fill those waters up, and with the juice,” she said before she left again. I so wanted to start questioning her, but this was Newman’s warrant and everyone else besides Olaf was local. They knew Hazel. I didn’t. I’d let them play it for now. The coffee was fresh and hot and surprisingly good for a mass-produced cup. I did add sugar and cream, so it wasn’t great coffee, but I didn’t add much, so it wasn’t bad either. Olaf put in way more sugar than I did, so his cup would have been too sweet for me. He didn’t take cream. I guessed we could be snobby about each other’s coffee habits later. “But it was Forrester who taught you how to fight empty hand?” Livingston asked. “I had some martial arts when we met, but he started me on more real-world training that worked outside of a judo mat or a martial arts tournament.” “I thought he was out of New Mexico,” Livingston said. “He is.” “And you’re in St. Louis, Missouri.” “I am.” “Hard to train long-distance.” “I have people I train with at home.” “How often do you train?” Kaitlin asked. “At least three times a week in hand-to-hand and blade.” “Really that often?” Newman asked. “Yeah. How often do you train?” “I go to the range two, three times a month.” “Any martial arts?” I asked. “I go to the gym three times a week.

She stayed with buses after that, getting off only now and then to walk so she'd keep awake. What fragments of dreams came had to do with the post horn. Later, possibly, she would have trouble sorting the night into real and dreamed. At some indefinite passage in night's sonorous score, it also came to her that she would be safe, that something, perhaps only her linearly fading drunkenness, would protect her. The city was hers, as, made up and sleeked so with the customary words and images (cosmopolitan, culture, cable cars) it had not been before: she had safe-passage tonight to its far blood's branchings, be they capillaries too small for more than peering into, or vessels mashed together in shameless municipal hickeys, out on the skin for all but tourists to see. Nothing of the night's could touch her; nothing did. The repetition of symbols was to be enough, without trauma as well perhaps to attenuate it or even jar it altogether loose from her memory. She was meant to remember. She faced that possibility as she might the toy street from a high balcony, roller-coaster ride, feeding-time among the beasts in a zoo-any death-wish that can be consummated by some minimum gesture. She touched the edge of its voluptuous field, knowing it would be lovely beyond dreams simply to submit to it; that not gravity's pull, laws of ballistics, feral ravening, promised more delight. She tested it, shivering: I am meant to remember. Each clue that comes is supposed to have its own clarity, its fine chances for permanence. But then she wondered if the gemlike "clues" were only some kind of compensation. To make up for her having lost the direct, epileptic Word, the cry that might abolish the night. In Golden Gate Park she came on a circle of children in their nightclothes, who told her they were dreaming the gathering. But that the dream was really no different from being awake, because in the mornings when they got up they felt tired, as if they'd been up most of the night. When their mothers thought they were out playing they were really curled in cupboards of neighbors' houses, in platforms up in trees, in secretly-hollowed nests inside hedges, sleeping, making up for these hours. The night was empty of all terror for them, they had inside their circle an imaginary fire, and needed nothing but their own unpenetrated sense of community. They knew about the post horn, but nothing of the chalked game Oedipa had seen on the sidewalk. You used only one image and it was a jump-rope game, a little girl explained: you stepped alternately in the loop, the bell, and the mute, while your girlfriend sang: Tristoe, Tristoe, one, two, three, Turning taxi from across the sea… "Thurn and Taxis, you mean?" They'd never heard it that way. Went on warming their hands at an invisible fire. Oedipa, to retaliate, stopped believing in them.

Wherever you go, Provincetown will always take you back, at whatever age and in whatever condition. Because time moves somewhat differently there, it is possible to return after ten years or more and run into an acquaintance, on Commercial or at the A&P, who will ask mildly, as if he’d seen you the day before yesterday, what you’ve been doing with yourself. The streets of Provincetown are not in any way threatening, at least not to those with an appetite for the full range of human passions. If you grow deaf and blind and lame in Provincetown, some younger person with a civic conscience will wheel you wherever you need to go; if you die there, the marshes and dunes are ready to receive your ashes. While you’re alive and healthy, for as long as it lasts, the golden hands of the clock tower at Town Hall will note each hour with an electric bell as we below, on our purchase of land, buy or sell, paint or write or fish for bass, or trade gossip on the post office steps. The old bayfront houses will go on dreaming, at least until the emptiness between their boards proves more durable than the boards themselves. The sands will continue their slow devouring of the forests that were the Pilgrims’ first sight of North America, where man, as Fitzgerald put it, “must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.” The ghost of Dorothy Bradford will walk the ocean floor off Herring Cove, draped in seaweed, surrounded by the fleeting silver lights of fish, and the ghost of Guglielmo Marconi will tap out his messages to those even longer dead than he. The whales will breach and loll in their offshore world, dive deep into black canyons, and swim south when the time comes. Herons will browse the tidal pools; crabs with blue claws tipped in scarlet will scramble sideways over their own shadows. At sunset the dunes will take on their pink-orange light, and just after sunset the boats will go luminous in the harbor. Ashes of the dead, bits of their bones, will mingle with the sand in the salt marsh, and wind and water will further disperse the scraps of wood, shell, and rope I’ve used for Billy’s various memorials. After dark the raccoons and opossums will start on their rounds; the skunks will rouse from their burrows and head into town. In summer music will rise up. The old man with the portable organ will play for passing change in front of the public library. People in finery will sing the anthems of vanished goddesses; people who are still trying to live by fishing will pump quarters into jukeboxes that play the songs of their high school days. As night progresses, people in diminishing numbers will wander the streets (where whaling captains and their wives once promenaded, where O’Neill strode in drunken furies, where Radio Girl—who knows where she is now?—announced the news), hoping for surprises or just hoping for what the night can be counted on to provide, always, in any weather: the smell of water and its sound; the little houses standing square against immensities of ocean and sky; and the shapes of gulls gliding overhead, white as bone china, searching from their high silence for whatever they might be able to eat down there among the dunes and marshes, the black rooftops, the little lights tossing on the water as the tides move out or in.

School Library Journal Gr 3–6—This interactive manual is fun to read and even more fun to put into practice. From hopscotch to dodge ball, jacks to solitaire, and string games to memory games, all types of activities are included. Games to play with a ball, with cards, in a car on the go, alone, or in a group are all here to be enjoyed. The instructions are clear and easy to follow. There are also historical and factual asides for many of the entries. Some include variations on the main game or alternate names for the activity that have been used through the years. The illustrations depict children demonstrating a particular aspect of a game or just enjoying themselves playing. This is a great resource for parents and teachers, as well as for children.—Cynde Suite, Bartow County Library System, Adairsville, GA

Falco loosened the final rope with a flourish and the gondola floated free of the dock. He laughed when Cass instinctively took her usual spot, tucked back inside the felze. Then he went to the rear of the boat and began to use the long flexible oar to steer toward the Giudecca, the sandbar island that separated San Domenico from the more populated islands of Venice. Cass felt a bit foolish. She slid out of the felze and went to stand beside Falco as he moved the boat through the water. Fog swirled around the gondola. “Don’t expose yourself to the elements on my account,” Falco said with a crooked smile. “I don’t mind playing gondolier for you.

Learned and lovely,” he said. “I see now why you’ve been spending time with her, Falco. Just because she cannot be your bride doesn’t mean she cannot be your muse.” Cass’s good mood faded instantly. Even in the dingy taverna, the reality was obvious to everyone. She and Falco could never be together. “Let’s get out of here, my lovely muse,” Falco said, as if sensing that Paolo’s words had upset her. He pulled her chair back for her, and she stood and adjusted her skirts. Cass bid the other artists good night and let Falco lead her to the door. “Falco.” Paolo’s sharp voice cut through the hazy darkness. Falco turned around. “Yes?” “I trust she knows little of your line of work?” Cass felt Falco’s body tense up momentarily, and then relax. “We’ve spoken briefly about the work I do for Tommaso, if that’s what you mean.” Paolo stared at Falco without speaking. Nicolas and Etienne looked up as well. Cass could have sworn they were having an entire conversation without words. “Let’s go.” Falco broke the spell by turning away. He pulled Cass through the door and out into the night. “What was that about?” she asked, shivering in the damp air. Falco put an arm around her and pulled her close. “Who knows,” he said. “Paolo feels the need to make himself a pain to everybody. I just let him pretend he’s in charge.” Falco led Cass behind the bakery where a small batèla was tied. “Are you ready for our next adventure?” he asked, untying the ropes of the wooden rowboat as though he stole boats every night of his life. “Skulking about the outskirts of a few wealthy palazzos should be child’s play compared with some of the work we’ve done.

Are you ready for our next adventure?” he asked, untying the ropes of the wooden rowboat as though he stole boats every night of his life. “Skulking about the outskirts of a few wealthy palazzos should be child’s play compared with some of the work we’ve done.

both father and daughter, to have time together with no other distractions. Neil’s ship had docked on the Wednesday and he had come round to Crocus Street to pick up the presents he had been unable to give Libby the previous Christmas. It was only then that Marianne had realised how their daughter had matured since Neil had last seen her. Libby never played with dolls now, only skipped with a rope in the schoolyard since there was nowhere suitable at Tregarth, and had long outgrown the angora cardigan. But she knew her daughter well enough to be sure that Libby would not dream of upsetting her father by letting him see her disappointment, and had looked forward to Neil’s return, when he could tell her how Libby went on. But within a very short space of time, Marianne was far too occupied to wonder what Libby and her father were doing, for on the night of 1 May, while Neil was safely ensconced at Tregarth, Liverpool suffered its worst raid of the war so far. The planes started coming over just before eleven o’clock, and bombs simply rained down on the city. Fires started almost immediately. The docks were hit and the constant whistle and crash as the heavy explosives descended meant that no one slept. Mr Parsons had been fire watching, though the other lodgers had been in bed when the raid started and had taken to the shelters along with Gammy and Marianne. Mr Parsons told them, when he came wearily home at breakfast time next day, that he had never seen such destruction. By the end of the week, Marianne, making her way towards Pansy Street to make sure that Bill’s lodgings were still standing and that Bill himself was all right, could scarcely recognise the streets along which she passed. However, Pansy Street seemed relatively undamaged and when she knocked at Bill’s lodgings his landlady, Mrs Cleverley, assured her visitor that Mr Brett, though extremely tired – and who was not? – was fine. ‘He’s just changed his job, though,’ she told Marianne. ‘He’s drivin’ buses now, instead of trams, because there’s so many tramlines out of commission that he felt he’d be more use on the buses. And of course he’s fire watchin’ whenever he’s norrat work. Want to come in for a drink o’ tea, ducks? It’s about all that’s on offer, but I’ve just made a brew so you’re welcome to a cup.’ Marianne declined, having a good deal to do herself before she could get a rest, but she felt much happier knowing that Bill was safe. Their friendship had matured into something precious to her, and she realised she could scarcely imagine

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Uh-oh!” said Lizzy. “There’s a boy coming over from the boys’ side of the playground, and guess who it is.” There wasn’t any rule about a boys’ side and a girls’ side at Bear Country School. But the boys did sort of stay on one side of the playground and the girls on the other. Oh! I hope it’s Herbie Cubbison! thought Sister. Sister Bear liked Herbie, and everybody knew it--except maybe Herbie. “Is it Herbie?” asked Sister, not wanting to look. “No,” said Lizzy. “It’s Billy Grizzwold.” “Oh, no! Not that awful Billy Grizzwold!” said Sister, turning the rope faster and faster. “Hey, slow down,” said Amy. “Hi, Sister!” said Billy. “Don’t you ‘hi’ me, said Sister, “and you better not have a worm, like you did yesterday, or a dead mouse, like you did the day before!” “No worm. No dead mouse,” said Billy. “Just me!” And with that he began jumping with Amy and got tangled in the rope. Down they all fell in a heap. “Why, you…!” said Sister. She pulled the rope free and ran after Billy. Sister was a fast runner. But Billy was faster and kept just ahead of her. Oh, why doesn’t Herbie Cubbison come to my rescue? thought Sister as she chased Billy around and around the playground. Herbie was too busy playing fistball even to notice.

By the time I started down off the ridge, I felt absolutely gluttonous with natural beauty. How rich the Nepalis are for all their lack of western wealth. I try not to overly romanticize the pastoral scene, because the elimination of the health problems in these villages would certainly add to the comfort of life for the Nepalis. But I am having a crises of confidence about anything the developed nations have to "give" or teach Nepal about the quality of life. I think of one of the villages where I rested. Saturday is a bidhaa, holiday, in Nepal, and little clusters of men gathered lazily under the chautaara, the resting tree, with its gnarly roots. Little boys tossed a ball made from old socks back and forth to each other. The women at the water tap, in their wonderful wildflower shades of clothes, stood talking with their golden water urns glowing in the sun. Four little girls played a complicated jump rope game. Could I honestly say these people's lives would have been improved if they had spent their bidhaa at the mall?

She switched the headlamp on and saw bats clinging to the side of the cave inches from her face. Someone whimpered. She supposed it was her. She switched the lamp off and played out the rope, dropping more slowly, trying to control the whimpering.

Man’s mortality is constantly vexed with dreams of immortality, his transience is teased by hopes of infinity. The gods have given man hungers which no food can satisfy. He is indeed the dumb cattle driven by the gods. He is tied to the rope of his body, and for fodder they throw at him grief, hope and joy, and they have enclosed his pasture ground with the fence of ignorance. The gods have been playing a cruel game with man. They

Hunter slipped from the bed and grabbed his breeches to pull them on. Bathed in moonlight, the planes of his body were gilded with silver, its contours cast into delineative shadow. Clutching a fur to her chest, Loretta sat up, pretending not to notice. She did, though, and what she saw set her pulse to skittering. Perhaps beautiful wasn’t an appropriate adjective for a man, but it was the only word that came to her. Watching him, she was, for the first time in her life, appreciative of the male form, the smooth play of muscle in motion, the subtle grace in strength. Lean tendons roped his buttocks and thighs. When he turned slightly she glimpsed his manhood, jutting forth, hard and proud from a mahogany nest of short curly hair. Her throat tightened, and deep within her there welled feelings she could scarcely credit, longing, tenderness, delicious excitement--and fierce pride. That such a man loved her and wanted her was nothing short of incredible. He could have had any girl in the village, someone supple and dark with liquid brown eyes, a dozen such someones if he chose, but instead he had picked her, a skinny, pallid farm girl. Cinching the drawstring of his pants, he tied a quick bowknot and extended a hand to her. For an instant Loretta was swept back in time to that first afternoon, when he had commanded she place her palm across his. She had been so terrified then, but no longer. His arm was her shield, just as he had promised. “Come, wife. My cousin brings a gift, eh?” “Hunter, I’m not dressed!” Chuckling, he grabbed a buffalo robe and draped it around her shoulders. After enveloping her in the fur, he drew her from the bed and to the door, untying the flap to sweep it aside.

Watching him, she was, for the first time in her life, appreciative of the male form, the smooth play of muscle in motion, the subtle grace in strength. Lean tendons roped his buttocks and thighs. When he turned slightly she glimpsed his manhood, jutting forth, hard and proud from a mahogany nest of short curly hair. Her throat tightened, and deep within her there welled feelings she could scarcely credit, longing, tenderness, delicious excitement--and fierce pride. That such a man loved her and wanted her was nothing short of incredible. He could have had any girl in the village, someone supple and dark with liquid brown eyes, a dozen such someones if he chose, but instead he had picked her, a skinny, pallid farm girl. Cinching the drawstring of his pants, he tied a quick bowknot and extended a hand to her. For an instant Loretta was swept back in time to that first afternoon, when he had commanded she place her palm across his. She had been so terrified then, but no longer. His arm was her shield, just as he had promised.

Here is the story, which I have abridged (with acknowledgement to Sergey Parkhomenko, journalist and broadcaster, who reported it): The River Ob makes a turn at Kolpashevo, and every year it eats away a few feet of a sand cliff there. On April 30, 1979, the Ob's waters eroded another six-foot section of bank. Hanging from the newly exposed wall were the arms, legs and heads of people who had been buried there. A cemetery at least several yards wide had been exposed. The bodies had been packed in and layered tightly. Some of the skulls from the uppermost layer rolled out from the sandbank, and little boys picked them up and began playing with them. News of the burial spread quickly and people started gathering at the sandbank. The police and neighbourhood watch volunteers quickly cordoned off the whole thing. Shortly afterwards, they built a thick fence around the crumbling sandbank, warning people away. The next day, the Communist Party called meeting in the town, explaining that those buried were traitors and deserters from the war. But the explanation wasn't entirely convincing. If this were so, why was everyone dressed in civilian clothes? Why had women and children been executed as well? And from where, for that matter, did so many deserters come in a town of just 20,000 people? Meanwhile, the river continued to eat away at the bank and it became clear that the burial site was enormous; thousands were buried there. People could remember that there used to be a prison on these grounds in the late 1930s. It was general knowledge that there were executions there, but nobody could imagine just how many people were shot. The perimeter fence and barbed wire had long ago been dismantled, and the prison itself was closed down. But what the town's people didn't know was that Kolpashevo's prison operated a fully-fledged assembly line of death. There was a special wooden trough, down which a person would descend to the edge of a ditch. There, he'd be killed by rifle fire, the shooter sitting in a special booth. If necessary, he'd be finished off with a second shot from a pistol, before being added to the next layer of bodies, laid head-to-toe with the last corpse. Then they'd sprinkle him lightly with lime. When the pit was full, they filled in the hole with sand and moved the trough over a few feet to the side, and began again. But now the crimes of the past were being revealed as bodies fell into the water and drifted past the town while people watched from the shore. In Tomsk, the authorities decided to get rid of the burial site and remove the bodies. The task, it turned out, wasn't so easy. Using heavy equipment so near a collapsing sandbank wasn't wise and there was no time to dig up all the bodies by hand. The Soviet leadership was in a hurry. Then from Tomsk came new orders: two powerful tugboats were sent up the Ob, right up to the riverbank, where they were tied with ropes to the shore, facing away from the bank. Then they set their engines on full throttle. The wash from the ships' propellers quickly eroded the soft riverbank and bodies started falling into the water, where most of them were cut to pieces by the propellers. But some of the bodies escaped and floated away downstream. So motorboats were stationed there where men hooked the bodies as they floated by. A barge loaded with scrap metal from a nearby factory was moored near the boats and the men were told to tie pieces of scrap metal to the bodies with wire and sink them in the deepest part of the river. The last team, also composed of local men from the town, worked a bit further downstream where they collected any bodies that had got past the boats and buried them on shore in unmarked graves or sank them by tying the bodies to stones. This cleanup lasted almost until the end of the summer.

Tell me what you feel," he demanded. "Right now, in this moment." Her arms flexed as she pulled against the rope around her wrists, stopping just shy of loosening the restraint. She licked her lips, and her gaze fell to travel hotly over his bared chest and abdomen. And then lower to where his painful erection jutted fiercely from the shadow of his groin. His entire body tensed when her attention seemed to lock on that part of his body. "I am on fire from the inside out," she whispered in a husky tone. "I feel desperate and frantic. As though I am fighting for my life." She brought her gaze back to his face. "And only you have the power to save me." She arched her body, lifting her breasts and rolling her hips. "Please, my lord. Kiss me," she sighed in a quiet demand. Kiss her? He wanted to consume her. In that breathless moment, her gaze seemed to contain all the mysteries of life and death. Mysteries he wanted desperately to explore... until he acknowledged with an intense stab of regret that a woman like Lily would not reveal the depths of her heart unless she could expect reciprocation in kind. Avenell would never know the beautiful secrets she kept. But he could know this. The sigh she breathed as he lowered his head toward hers. The silken texture and lush softness of her lips beneath his. The sweetness of her tongue, the sharp edge of her teeth. The way he so quickly and easily lost himself in the languid exploration of her mouth. She arched more deeply toward him. The peaks of her breasts pressed into his chest. He tensed at the rise in sensations but did not pull away. The kiss took priority over all else. Her tongue played fiercely against his, and her teeth scraped along his lower lip, demanding more of him. Her body melted as her moans and sweet whimpers fanned the fire burning hot inside him. She strained beneath him, arching deeper, pressing harder toward him. It was the deepest pleasure.

The way circus elephants are trained demonstrates this dynamic well: When young, they are attached by heavy chains to large stakes driven deep into the ground. They pull and yank and strain and struggle, but the chain is too strong, the stake too rooted. One day they give up, having learned that they cannot pull free, and from that day forward they can be “chained” with a slender rope. When this enormous animal feels any resistance, though it has the strength to pull the whole circus tent over, it stops trying. Because it believes it cannot, it cannot. “You’ll never amount to anything;” “You can’t sing;” “You’re not smart enough;” “Without money, you’re nothing;” “Who’d want you?;” “You’re just a loser;” “You should have more realistic goals;” “You’re the reason our marriage broke up;” “Without you kids I’d have had a chance;” “You’re worthless”—this opera is being sung in homes all over America right now, the stakes driven into the ground, the heavy chains attached, the children reaching the point they believe they cannot pull free. And at that point, they cannot. Unless and until something changes their view, unless they grasp the striking fact that they are tied with a thread, that the chain is an illusion, that they were fooled, and ultimately, that whoever so fooled them was wrong about them and that they were wrong about themselves—unless all this happens, these children are not likely to show society their positive attributes as adults. There’s more involved, of course, than just parenting. Some of the factors are so small they cannot be seen and yet so important they cannot be ignored: They are human genes. The one known as D4DR may influence the thrill-seeking behavior displayed by many violent criminals. Along with the influences of environment and upbringing, an elongated D4DR gene will likely be present in someone who grows up to be an assassin or a bank robber (or a daredevil). Behavioral geneticist Irving Gottesman: “Under a different scenario and in a different environment, that same person could become a hero in Bosnia.” In the future, genetics will play a much greater role in behavioral predictions. We’ll probably be able to genetically map personality traits as precisely as physical characteristics like height and weight. Though it will generate much controversy, parents may someday be able to use prenatal testing to identify children with unwanted personality genes, including those that make violence more likely. Until then, however, we’ll have to settle for a simpler, low-tech strategy for reducing violence: treating children lovingly and humanely.

November 30th What do you know? For once I favourably surprise myself. After I'd read Howard's exemplary "White Ship" on Friday night and spent yesterday idling about in Providence - woolgathering, I suppose - I've finally made up my mind to sit down and attempt to lick this novel into some kind of functional shape. The central character I'm thinking, is a young man in his early thirties. He's well educated, but if forced by economic circumstance to leave his home in somewhere like Milwaukee (on the principle of writing about somewhere that you know) to seek employment further east. I feel I should give him a name. I know that details of this sort could wait until much later in the process, but I don't feel able to flesh out his character sufficiently until I've at least worked out what he's called. There's been a twenty minute pause between the end of the foregoing sentence and the start of this one, but I think his first name should be Jonathan. Jonathan Randall is the name that comes to me, perhaps by way of Randall Carver. Yes, I think I like the sound of that. So, young Jonathan Randall realises that his yearnings for a literary life have to be put aside to spare his parents dwindling resources, and that he must make his own way in the world, through manual labour if needs be, in order to become the self-sufficient grownup he aspires to be. During an early scene, perhaps in a recounting of Jonathan's childhood, there should be some striking incident which foreshadows the supernatural or psychological weirdness that will dominate the later chapters. Thinking about this, it seems to me that this would be the ideal place to introduce the bridge motif I've toyed with earlier in these pages: since I'm quite fond of the opening paragraphs that I've already written, with that long description of America as a repository for all the world's religious or else occult visionaries, I think what I'll do is largely leave that as it is, to function as a kind of prologue and establish the requisite mood, and then open the novel proper with Jonathan and a school friend playing truant on a summer's afternoon at some remote and overgrown ravine or other, where there's a precarious and creaking bridge with fraying ropes and missing boards that joins the chasm's two sides. I could probably set up the story's major themes and ideas in the two companions' dialogue, albeit simply expressed in keeping with their age and limited experience. Perhaps they're talking in excited schoolboy tones about some local legend, ghost story or piece of folklore that's connected with the bridge or the ravine. This would provide a motive - the eternal boyish fascination with the ghoulish - for them having come to this ill-omened spot while playing hooky, and would also help establish Jonathan's obsession with folkloric subjects as explored in the remainder of the novel.

Only unusually strong and logically consistent people act in this manner. Having realized all the stupidity of the joke that is being played on us and seeing that the blessings of the dead are greater than those of the living and that it is better not to exist, they act and put an end to this stupid joke; and they use any means of doing it: a rope around the neck, water, a knife in the heart, a train.

The actor must not only 'do his job' in a conscientious manner, which is what anyone must do; he must also trap his unconscious (a neat trick) and he must trap it on cue (a neater trick). [...] Should the actor work out the details of his part in personal terms, should he succeed in engaging his own secret anxieties and enjoyments - his private beliefs, his dream-life characteristics, should he then insinuate these secrets into the ebbing and flowing of the play, he will be inevitably swept into the main lines of the action - he will be forced unconsciously from point to point in his performance. The more certainly and firmly these guide ropes have been rigged, the more the actor can afford to forget them and begin to shade his playing. Most observes say to actors, 'How do you remember all those lines?' What a lovely irony, since the actor's most elusive achievement is to forget them! Or, to put it more clearly, to know them so well and to understand their implications so well that he can afford to forget them. Marlon Brando once said, 'I am good when I forget. When I can sit on stage and think of catching a fish. I have just sunk the hook, there's a tug on the line, and at that preoccupied moment, I hear my cue. My God, what is my line? And then I say my line, because the motor memory will save you if you really believe. So I say my line, the line I thought I'd forgotten, and it's good, man. It's really good.' Sounds mysterious, but it isn't. It is merely a neat trick. Catching Pegasus by the heel is a neat trick. It proceeds not from hard labor but from a knowledge of the self. Such knowledge is hard-bought, but it is not like digging ditches. It is a giving-over of the ego. [...]

The actor must not only 'do his job' in a conscientious manner, which is what anyone must do; he must also trap his unconscious (a neat trick) and he must trap it on cue (a neater trick). [...] Should the actor work out the details of his part in personal terms, should he succeed in engaging his own secret anxieties and enjoyments - his private beliefs, his dream-life characteristics, should he then insinuate these secrets into the ebbing and flowing of the play, he will be inevitably swept into the main lines of the action - he will be forced unconsciously from point to point in his performance. The more certainly and firmly these guide ropes have been rigged, the more the actor can afford to forget them and begin to shade his playing. Most observes say to actors, 'How do you remember all those lines?' What a lovely irony, since the actor's most elusive achievement is to forget them! Or, to put it more clearly, to know them so well and to understand their implications so well that he can afford to forget them. Marlon Brando once said, 'I am good when I forget. When I can sit on stage and think of catching a fish. I have just sunk the hook, there's a tug on the line, and at that preoccupied moment, I hear my cue. My God, what is my line? And then I say my line, because the motor memory will save you if you really believe. So I say my line, the line I thought I'd forgotten, and it's good, man. It's really good.' Sounds mysterious, but it isn't. It is merely a neat trick. Catching Pegasus by the heel is a neat trick. It proceeds not from hard labor but from a knowledge of the self. Such knowledge is hard-bought, but it is not like digging ditches. It is a giving-over of the ego.

A man who is charged with pulling down strongholds must be a student, therefore, of two things. He must be a student of the gear he is using, and he must be a student of the tower he is charged with toppling. He must know the gospel, and the Scripture that houses it, and he must also know the state of the current imaginations, whether those imaginations are healthy or diseased. He needs to know where to attach the ropes. This means that in order to have a true impact, a local church must understand some of the fundamental theological issues in play and how they intersect with the large cultural issues of our day.

VITAL Action As you take action on your social-anxiety playing field, you can use the following skills to guide you in each and every action: V Identify your values and goals. (Hint: Values guide your actions and are never “finished”; goals are things you can check off and say you’re done with.) I Remain in the present moment, first anchoring your attention to the breath and then shifting your focus to, and staying fully present with, what really matters in the situation; revisit your anchor as needed when your focus drifts from the present moment. T Take notice of your experience from your observer perspective (perhaps embodying your inner mountain or another observer image), noticing feelings, thoughts, and urges to use safety behaviors (including avoidance). AL Allow your experience to be exactly as it is, with the assistance of metaphors (flip on your willingness switch, drop the rope, welcome Uncle Leo, and so on) and defusion strategies (labeling, thank your mind, and so on). Try bringing attitudes of curiosity, openness, compassion, and acceptance to your experience.

I'd imagined my job would involve playing jump rope and weaving lanyards, but, instead, I'd landed inside a jail for kids.

The oldest Vedantic school, Advaita [‘Not two’], represents an extreme and purist position in arguing that Brahman alone is real. The self and the world are within Brahman, with any apparent difference arising from illusion [maya] and ignorance [avidya]. It is as with a rope, which seems to be a snake, or a seashell, which seems to be of silver. This world is like the foam on the sea, or a peacock’s egg, created simply for play [lila]. Since Brahman is all, Brahman is without attributes. When the mind, which is given to maya, tries to conceive of Brahman, it sees Ishvara in one of his many forms. If certain Upanishadic statements appear to be theistic, it is because their author (nominally, Brahman) is catering to his audience. Only in deep sleep, when we are no longer dreaming, might we experience something of the formlessness of Brahman. We are then pure, disengaged consciousness, like the sun after it has set. This is the experience of disembodied Atma, of death, of home.

Instead of being transparent about what they want or why they need your help, they play upon your vulnerable emotions—guilt, obligation, low self-worth, confusion, anxiety, or fear—to rope you into doing what works for them.

people in now. Time to hustle for charity.” We all look toward the ropes, where my winger Castro is beckoning to Rebecca. “Look who’s here!” he calls. “No way!” another player shouts. “Becca! We missed you!” Rebecca hesitates. “Do you mind if I say hello?” “Go,” I tell her. Stay, my heart whines. “I’m not going to pick his pocket on the router division in the next two minutes,” Alex says with a grumble. “Even I can’t work that fast.” Becca gives me a glance of amusement and then hurries off to greet her friends. I watch her walk away, her smooth heels against the grass… “Hey,” Alex says, snapping her fingers. “Romeo.” This startles me out of my stupor. “What?” Alex smirks at me. Then she takes my drink out of my hand and takes a tiny sip. “I swear to God, Nate. Does that girl know how you feel?” Shit. Alex snickers at my expression. “Seriously? I hope you weren’t actually trying to keep it a secret. Your poker face sucks.” “I don’t often lose at poker.” World’s lamest comeback. My oldest friend rolls her eyes. “Don’t play when she’s at the table, then. I don’t think you could even see your own cards.” I stare into my

I was a ball of flesh at the end of three demons playing tug-of-war. I was the rope. I was pulled and torn and then bisected. Then all at once, my flesh was dying.

Poetry is Play [10w] Poetry is play ~ write it like a child skipping rope.

Now as they made their way through the exuberantly crowded village, Daisy understood what Westcliff had meant. It was still early evening, and already it appeared that copiously flowing wine had loosened inhibitions. People were embracing, arguing, laughing and playing. Some were laying floral wreaths at the base of the oldest oak trees, or pouring wine at the roots, or… “Good Lord,” Daisy said, her attention caught by a perplexing sight in the distance, “what are they doing to that poor tree?” Matthew’s hands clasped her head and firmly aimed her face in another direction. “Don’t look.” “Was it some form of tree-worship or—” “Let’s go watch the rope-dancers,” he said with sudden enthusiasm, guiding her to the other side of the green.

If you come any closer Dal’las I will be forced to tie you to our bedja until we are done with our discussion.” “Hmm, I’ve been meaning to suggest a little rope play in our sex life,” she practically purred, truly finding the idea exciting.

I nearly dropped my fork. “Say that again?” “Human servants, so we can go where—” “No, not that, the second part. The stupid part. You guys are actually Satanists? Like real, no-kidding, play your heavy metal album backward and bark at the moon Satanists?” Mack blinked. Zeke looked like he was fantasizing about killing me. “It’s not stupid,” Mack said. “We have a place of high honor awaiting us—” “Yeah, it is. It really is. So this is how Prince Malphas ropes you dopes in. Don’t suppose he’s told you that nobody’s even seen Lucifer in over a thousand years? He took a walkabout and never came back. Hell had a civil war when he left, geniuses. How do you think the whole feuding-courts thing came about?” “That’s not true,” Mack said.

I have a human tornado playing jump rope with my guts. Hard to sleep with Cirque de Bebe going on beind my belly button.