Scars Tell Stories Quotes

Writers remember everything...especially the hurts. Strip a writer to the buff, point to the scars, and he'll tell you the story of each small one. From the big ones you get novels. A little talent is a nice thing to have if you want to be a writer, but the only real requirement is the ability to remember the story of every scar. Art consists of the persistence of memory.

I'll tell you a thousand stories, my love. We'll write the new endings, one by one.

Some people read palms to tell your future, but I read hands to tell your past. Each scar makes a story worth telling. Each callused palm, each cracked knuckle is a missed punch or years in a factory.

Our scars define us. They tell a story of courage and survival. They tell of who we are at our deepest being, of the challenges we've faced and overcome.

Our scars define us. They tell a story of courage and survival. They tell of who we are at our deepest being, of the challenges we've faced and overcome

A city isn’t so unlike a person. They both have the marks to show they have many stories to tell. They see many faces. They tear things down and make new again.

My scars tell a story. They are a reminder of times when life tried to break me, but failed. They are markings of where the structure of my character was welded.

From every wound there is a scar, and every scar tells a story. A story that says, "I survived".

Don't be scared of scars. They just tell stories that are hard to hear.

people used to tell me that i had beautiful hands told me so often, in fact, that one day i started to believe them until i asked my photographer father, “hey daddy could i be a hand model” to which he said no way, i dont remember the reason he gave me and i wouldve been upset, but there were far too many stuffed animals to hold too many homework assignment to write, too many boys to wave at too many years to grow, we used to have a game, my dad and i about holding hands cus we held hands everywhere, and every time either he or i would whisper a great big number to the other, pretending that we were keeping track of how many times we had held hands that we were sure, this one had to be 8 million 2 thousand 7 hundred and fifty three. hands learn more than minds do, hands learn how to hold other hands, how to grip pencils and mold poetry, how to tickle pianos and dribble a basketball, and grip the handles of a bicycle how to hold old people, and touch babies , i love hands like i love people, they're the maps and compasses in which we navigate our way through life, some people read palms to tell your future, but i read hands to tell your past, each scar marks the story worth telling, each calloused palm, each cracked knuckle is a missed punch or years in a factory, now ive seen middle eastern hands clenched in middle eastern fists pounding against each other like war drums, each country sees theyre fists as warriors and others as enemies. even if fists alone are only hands. but this is not about politics, no hands arent about politics, this is a poem about love, and fingers. fingers interlock like a beautiful zipper of prayer. one time i grabbed my dads hands so that our fingers interlocked perfectly but he changed positions, saying no that hand hold is for your mom. kids high five, but grown ups, we learn how to shake hands, you need a firm hand shake,but dont hold on too tight, but dont let go too soon, but dont hold down for too long, but hands are not about politics, when did it become so complicated. i always thought its simple. the other day my dad looked at my hands, as if seeing them for the first time, and with laughter behind his eye lids, with all the seriousness a man of his humor could muster, he said you know you got nice hands, you could’ve been a hand model, and before the laughter can escape me, i shake my head at him, and squeeze his hand, 8 million 2 thousand 7hundred and fifty four.

We do not have to spend money and go hungry and struggle and study to become sensual; we always were. We need not believe we must somehow earn good erotic care; we always deserved it. Femaleness and its sexuality are beautiful. Women have long secretly suspected as much. In that sexuality, women are physically beautiful already; superb; breathtaking. Many, many men see this way too. A man who wants to define himself as a real lover of women admires what shows of her past on a woman's face, before she ever saw him, and the adventures and stresses that her body has undergone, the scars of trauma, the changes of childbirth, her distinguishing characteristics, the light is her expression. The number of men who already see in this way is far greater than the arbiters of mass culture would lead us to believe, since the story they need to tell ends with the opposite moral.

Your scars tell who you are. Your skin is the page, and your scars are the ink, telling the story of your life.

I'll tell you right now, the doors to the world of the wild self are few but precious. If you have a deep scar, that is a door; if you have an old, old story, that is a door. If you love the sky and the water so much that you almost cannot bear it, that is a door. If you yearn for a deeper life, a full life, a sane life, that is a door.

Scars are badges of strength and courage. They tell the story of what we have endured. Only survivors wear them.

So when they ask you what you weigh, you don’t need to look down at any scale. Instead, simply tell them the truth; tell them how you weigh whole universes and storms and scars and stories, too.

We were rough around the edges, but that didn’t make us worthless. Being a little damaged does not make someone broken. It just means they have better stories to tell and cooler scars. It

I'll tell you right now, the doors to the world of the wild Self are few but precious. If you have a deep scar, that is the door; if you have an old, old story, that is the door.

I’ve always been able to tell a lot about people by whether they ask me about my scar. Most people never ask, but if it comes up naturally somehow and I offer up the story, they are quite interested. Some people are just dumb: 'Did a cat scratch you?' God bless. Those sweet dumdums I never mind. Sometimes it is a fun sociology litmus test, like when my friend Ricky asked me, 'Did they ever catch the black guy that did that to you?' Hmmm. It was not a black guy, Ricky, and I never said it was.

Never be ashamed of a scar. In the end, scars tell the story of our lives, everything that hurt us, and everything that healed us.

My body is covered in marks, Cole.” Big deal. “Mine too, sweetheart.” She snorted. “Yours are war scars.” “Yours too, Christy. I waged war with others while you waged war with yourself. It’s the same. It’s just life; there’s nothing to be ashamed of. We both survived. This body tells its own story, and it’s an amazing story. You are amazing.

Life does pack a punch. But it’s the scars that make us who we are, that tell the story of the life we lived.

Her prince smiled. “I don’t know the story.” “I’ll tell it to you,” Nina said. Outside, night was falling and the sky was full of stars. “I’ll tell you a thousand stories, my love. We’ll write the new endings, one by one.

Dead leaves give the feeling of relief that there's still something in the world, That’s also as devoid as you are Touching every leaf mark on the stem tells you a story Listen to it carefully That once there was a connection But with time And the change in the season Made way for the leave to fall off To change its color too To tell the stem that this is the time to take a leave To finally say "goodbye" And leave behind the faded scars That'll make way for the birth of new leaves To make another affiliation with the new companions.

You are the stories and incidents that you never tell to anyone. You are the thoughts that you get while standing under the shower. You are those memories that won't lets you sleep at night peacefully. You are those words that you will never say while speaking with someone. You are those scars that you always hide from everyone. You are those little secrets that you will never let the world know. You are everything that you hide under the identity that you call the real you.

Like people, it is the books with the most scars that have lived the fullest lies. Faded, creased, dusty, broken. These have the best stories to tell, the wisest counsel to offer.

Scars say a lot about a person, you know. What you’ve been through. What you defeated before it defeated you. Your fears. Memories. Strengths. Weaknesses. The things you love, the things you hope will never slip away. They tell a story...

If you are very quiet and do not look away, you may see the brightest star in the constellation glow steadily brighter. It brightens until it overwhelms every other star in the sky, brightens until it seems to touch the ground, and then the glow is gone, and in its place is a girl. Her hair and lashes are painted a shifting silver, and a scar crosses one side of her face. She is dressed in Sealand silk and a necklace of sapphire . Some say that, once upon a time, she had a prince, a father, a society of friends. Others say that she was once a wicked queen ,a worker of illusions, a girl who brought darkness across the lands. Stilll others say that she once had a sister, and that she loved her dearly. Perhaps all of these are true. She walks to the boy, tilts her head up at him, and smiles. He bends down to kiss her. Then he helps her onto the horse, and she rides away with him to a faraway place, until they can no longer be seen. These are only rumour,of course, and make little more than a story to tell round a fire. But it is told. And thus they live on. —“The Midnight Star,” a folktale

We'll bury our mothers and fathers - shuttling our children off for sleepovers, jumping on red-eyes, telling eachother stories that hurt to hear, about gasping, agonal breaths, hospice nurses, scars and bruises and scabs, and how skin papers shortly after a person passes. We will nod in agreement that it is as much an honor to witness a person leave this world as it is to watch a person come into it.

scars tell stories of who we are and what we did. A person without marks hasn’t done anything.

Some of those things might hurt. Life does pack a punch. But it’s the scars that make us who we are, that tell the story of the life we lived.

Come, come into this circle of grace and friendship. Come bringing only your open heart. You owe us nothing but truth, you need no heavy armor here. Show us your beautiful scars, the evidence of adventures you’ve survived. Tell your stories from the road. This space is home. You are safe to come as you are without fear.

there are scars, so many scars seemingly sketched across your skin scars like painful stories that you avoid telling in hopes of appearing fine but your eyes are saying something different

Dear Aspiring Writer, you are not ready. Stop. Put that finished story away and start another one. In a month, go back and look at the first story. RE-EDIT it. Then send it to a person you respect in the field who will be hard on you. Pray for many many many red marks. Fix them. Then put it away for two weeks. Work on something else. Finally, edit one last time. Now you are ready to sub your first work. Criticism is hard to take at first. Trust me, I've been there. But learn to think of crit marks as a knife. Each one is designed to cut away the bad and leave a scar. Scars prove you've lived, learned and walked away a winner. Any writer who tells you they don't need edits is lying. I don't care if they have 100 books out. Edits make you grow and if you aren't growing as a writer, you are dead.

She had been Zoya’s teacher, feared and beloved, powerful beyond measure. “I watched her throw herself from a mountaintop. She sacrificed herself to stop you. Was that her martyrdom?” The Darkling said nothing. Zoya couldn’t stop herself. “Grigori was eaten by a bear. Elizaveta was drawn and quartered. Still, they returned. There are stories whispered in the Elbjen mountains of the Dark Mother. She crowds in when the nights grow long. She steals the heat from kitchen fires.” “Liar.” “Maybe. We all have stories to tell.

Don't hide your scars, your stretch marks, your laugh lines, your calloused hands. They are your life story, telling of struggles won and lost, challenges faced, losses overcome, life grown and birthed and nurtured, hard work accomplished, stars reached for, hopes dashed, dreams realized, rock bottoms and mountain tops. They tell the story of your one amazing, awful, beautiful life written in the curves and lines of extraordinary, miraculous, beautiful you.

It’s scary. This love thing. The sweet vulnerability of extension. The naked of ‘here I am’. The tentative reaching of outstretched arms. The wide open of hope…Teach me how to be loved. Let me show you how to love me well. School me in the workings of your heart, in the language of your bones. Let my open palm memorize the shape of your face. Tell me the stories of your scars so I can trace them with the honor of understanding. I have been loved by those who didn’t care to discover all that I am. Will you be the one to see me whole?

The path of least resistance is boring, and scars are interesting—they tell an honest story, and they are proof that a battle was fought, and in my case, hard-won.

The trick of acting is to believe the lie yourself, at least a little. Acting begins in the body. If you want to convince anyone of anything, you start with the way the body moves. It tells a thousand stories before you ever open your mouth.

Secrets are like scars. The cut may no longer be there, but the scar’s white line tells a story. Unless you share it, it’s like you’re hiding a part of yourself the whole world can already see. They may not know the how or the why, but they see it just the same.

I’ll tell you right now, the doors to the world of the wild Self are few but precious. If you have a deep scar, that is a door, if you have an old, old story, that is a door. If you love the sky and the water so much you almost cannot bear it, that is a door. If you yearn for a deeper life, a full life, a sane life, that is a door.

Because writers remember everything, Paul. Especially the hurts. Strip a writer to the buff, point to the scars, and he’ll tell you the story of each small one. From the big ones you get novels, not amnesia. A little talent is a nice thing to have if you want to be a writer, but the only real requirement is that ability to remember the story of every scar.

I want your ass. Happy? Want it with the scars. With the fucked-up, tragic story. With every fiber of my body. I want to fuck you, and own you, and bruise you, and save you. But I can’t do any of those things. Why? Because you’d hate me afterwards, and that’s a fact, not a speculation. Mark my words. For reasons I can’t tell you right now, fucking you will break you and ruin me. And I may be a bastard, but I’m not the fucking villain.

Our scars define us,” Maddis said quietly, the tip of her finger tracing the three slashed lines. “They tell a story of courage and survival. They tell of who we are at our deepest being, of the challenges we’ve faced and overcome.” Whispering now, she patted Kiva’s hand and finished, “Not all scars are as visible as this. I daresay you have many more on the inside. But never forget that every scar is beautiful. And you should never, ever, be ashamed of them.

you have your own story you know about the fears the tears the scar of disbelief you know that the saddest lies are the ones we tell ourselves you know how dangerous it is to be born with breasts you know how dangerous it is to wear dark skin

I weigh the sea I weigh the storm I weigh a thousand stories long. I weigh my mother's fortitude and my father's eyes I weigh the way they look at me with pride I weigh strength and fearless and the warrior in me. I weigh all the pain and trauma that made me see that I have more galaxies inside me than tragedies. We all weigh joys and darkness and goodness and sin you see, we are infinite within this skin we are in. So when they ask you what you weigh you don't need to look down at any scale. Instead, simply tell them the truth, tell them how you weigh whole universes and storms and scars and stories too.

From every wound there is a scar, and every scar tells a story. A story that says, I survived.

I loved you the same way that I learned how to ride a bike. Scared, but reckless. With no training wheels or elbow pads so my scars can tell the story of how I fell for you.

...in every scar there is a story. The salve is the telling itself.

If we tell you even a fraction of our stories, will you still be able to look at us? Or will you only see the scars?

(Dolores is the only person, other than Lord Voldemort, to leave a permanent physical scar on Harry, having forced him to cut the words ‘I must not tell lies’ on the back of his own hand during detention).

The stories might tell that we love each other. But the stories would never remember what that felt like. They would never know that when we lay together in his tent the night before we died, he traced the small scar along my collarbone. That when he kissed me, he smiled against my mouth. Or what it sounded like when he said my name. We contained our own stories. A thousand tiny parts of the story would die with us.

Some people read palms to tell your future, I read hands to tell your past. Each scar marks a story worth telling. Each callused palm, each cracked knuckle, is a broken bottle, a missed punch, a rusty nail, years in a factory.

The tale is told by royalty and vagabonds alike, nobles and peasants, hunters and farmers, the old and the young. The tale comes from ever corner of the world, but no matter where it is told, it is always the same story, A boy on horseback, wandering at night, in the woods or on the plains or along the shores. The sound of a lute drifts in the evening air. Over head are the stars of a clear sky, a sheet of light so bright that he reaches up, trying to touch them. He stops and descends from his horse. Then he waits. He waits until exactly midnight, when the newest constellation in the sky blinks into existence. If you are very quiet and do not look away, you may see the brightest star in the constellation glow steadily brighter. It brightens until it overwhelms every other star in the sky, brightens until it seems to touch the ground, and then the glow is gone, and it its place is a girl. Her hair and lashes are painted a shifting silver, and a scar crosses one side of her face. She is dressed in Sealand silks and a necklace of sapphire. Some say that, once upon a time, she had a prince, a father, a society of friends. Other say that she was once a wicked queen, a worker of illusions, a girl who brought darkness across the lands. Still others say that she once had a sister, and that she loved her dearly. Perhaps all of these are true. She walks to the boy, tilts her head up at him, and smiles. He bends down to kiss her. Then he helps her onto the horse, and she rides away with him to a faraway place, until they can no longer be seen. These are only rumors, of course, and make little more than a story to tell around the fire. But it is told. And thus they live on. --"The Midnight Star", a folktale

I don’t believe in half-assing things anymore. The path of least resistance is boring, and scars are interesting—they tell an honest story, and they are proof that a battle was fought, and in my case, hard-won. I have many scars now.

Glory looks at the two small scars on her hands, one in the center of each palm, the body doing its work. [...] The girl who stood up and fell back down, who grabbed onto a barbed wire fence and stopped herself from falling again. The girl who walked barefoot across the desert and saved her own life. She can't imagine any other way to tell the story.

The trick of acting is to believe the lie yourself, at least a little. Acting begins in the body. If you want to convince anyone of anything, you start with the way the body moves. It tells a thousand stories before you even open your mouth.

Because writers remember everything, Paul. Especially the hurts. Strip a writer to the buff, point to the scars, and he’ll tell you the story of each small one. From the big ones you get novels, not amnesia. A little talent is a nice thing to have if you want to be a writer, but the only real requirement is that ability to remember the story of every scar. Art consists of the persistence of memory. Who

Hideous, aren’t they?” His voice startles me, and I realize I must have been quiet for a while. I notice how his jaw tightens. I shake my head. “Not to me.” I can’t stop myself from reaching up, sliding my fingers down the four jagged scars above his brow. Finally, the single one that mars his cheek. “Your scars aren’t flaws, Galloway. They’re not imperfections. They’re stories written on your skin.” “Stories?” It sounds like he thinks the idea is silly. “Aye,” I say. “They tell the tale of how you survived. There’s no shame in that.

call me a nobody. He just had a lot on his mind. ‘You ever meet your dad?’ I asked. ‘Once.’ I waited, thinking that if he wanted to tell me, he’d tell me. Apparently, he didn’t. I wondered if the story had anything to do with how he got his scar. Luke looked up and managed a smile. ‘Don’t worry about it, Percy. The campers here, they’re mostly good people. After all, we’re extended family, right? We take care

There are times when you almost tell the harmless old lady next door what you really think of her face—that it ought to be on a night-nurse in a house for the blind; when you’d like to ask the man you’ve been waiting ten minutes for if he isn’t all overheated from racing the postman down the block; when you nearly say to the waiter that if they deducted a cent from the bill for every degree the soup was below tepid the hotel would owe you half a dollar; when—and this is the infallible earmark of true exasperation—a smile affects you as an oil-baron’s undershirt affects a cow’s husband. But the moment passes. Scars may remain on your dog or your collar or your telephone receiver, but your soul has slid gently back into its place between the lower edge of your heart and the upper edge of your stomach, and all is at peace.

Tell them the truth, Nina. Nina rubbed her arms. You’re like a dog with a bone, Matthias. A wolf. Did I ever tell you about the way Trassel would destroy my boots if I didn’t tie them up in a branch out of his reach? He had. Matthias had told her all kinds of stories to keep her distracted when she’d been recovering from the influence of parem. He’d kept her alive. Why hadn’t she been able to do the same for him?

He takes a kitchen chair and sits in the yard and all the ducks come around. He holds up the cheese curls in one hand and caramel popcorn in the other and his audience looks up and he tells them a joke. He says: So one day a duck come into this bar and ordered a whiskey and a bump and the bartender was pretty surprised, he says, "You know we don't get many of you ducks in here." The duck says, "At these prices I'm not surprised.* And he tosses out the popcorn and they laugh. 'Wak wak wak wak wak. I was shot in the leg in the war.' Have a scar? 'No thanks, I don't smoke.

You are the stories and incidents that you never tell to anyone. You are the thoughts that you get while standing under the shower. You are those memories that won't lets you sleep at night peacefully. You are those words that you will never say while speaking with someone. You are those scars that you always hide from everyone. You are those little secrets that you will never let the world know. You are everything that you hide under the identity that you call the real you.

In Japanese pottery, there’s an artful form of repair called kintsugi. When a piece of ceramic pottery breaks, rather than trying to restore it to its original condition, the artisan accentuates the fault by using gold to fill the crack. This beautifully draws attention to where the work was broken, creating a golden vein. Instead of the flaw diminishing the work, it becomes a focal point, an area of both physical and aesthetic strength. The scar also tells the story of the piece, chronicling its past experience.

one might call this state ["youth" (but that seems inaccurate)] "remembering" but memory is quite eerie like caging a dream, and when I recite the rote details the real event slithers further from me because the telling of it reshapes it, every touch alters it, until it is unrecognizable except as a story [a doppelganger (immediately not myself) a writhing poltergeist summoned to snap at me from the darkness~or benign but vague, like a whisper making it better to remain silent, but I can't~the past is a narrative (that writes us) immanent in the present [proving there is cause and effect in the immaterial (the mythic becomes carnal by leaving marks on the body)] symbol by symbol, building up invisible scars

My scars will tell stories until the day I stop breathing. Thick

,,Scars are beautiful, Lily.They show who you are, your strength, they tell you story. But more than anything, they show that you are a survivor , no matter how you got it.

Teach me how to be loved. Let me show you how to love me well. School me in the workings of your heart, in the language of your bones. Let my open palm memorize the shape of your face. Tell me the stories of your scars so I can trace them with the honor of understanding. Do you see this fault line? It is where I was broken, over and over again, by the ones who came before you. Are you willing to take that in? My wide open eyes? My truth lives there, if you look for it. I have been loved by those who didn’t care to discover all that I am. Will you be the one to see me whole?

Tell them the truth, Nina. Nina rubbed her arms. You’re like a dog with a bone, Matthias. A wolf. Did I ever tell you about the way Trassel would destroy my boots if I didn’t tie them up in a branch out of his reach? He had. Matthias had told her all kinds of stories to keep her distracted when she’d been recovering from the influence of parem. He’d kept her alive. Why hadn’t she been able to do the same for him?

So here is what I see when we reclaim the church ladies: a woman loved and free is beautiful. She is laughing with her sisters, and together they are telling their stories, revealing their scars and their wounds, the places where they don't have it figured out. They are nurturers, creating a haven where the young, the broken, the tenderhearted, and the at-risk can flourish. These women are dancing and worshiping, hands high, faces tipped toward heaven, tears streaming. They are celebrating all shapes and sizes, talking frankly and respectfully about sexuality and body image, promising to stop calling themselves fat. They are saving babies tossed in rubbish heaps, rescuing child soldiers, supporting mamas trying to make ends meet halfway around the world, thinking of justice when they buy their daily coffee. They are fighting sex trafficking. They are pastoring and counseling. They are choosing life consistently, building hope, doing the hard work of transformation in themselves. They are shaking off the silence of shame and throwing open the prison doors of physical and sexual abuse, addictions, eating disorders, and suicidal depression. Poverty and despair are being unlocked - these women know there are many hands helping turn that key. There isn't much complaining about husbands and chores, cattiness, or jealousy when a woman knows she is loved for her true self. She is lit up with something bigger than what the world offers, refusing to be intimidated into silence or despair.

Can I kiss your scars on your body ? Can I kiss every last one of them ,even the one's that are invisible ?You don't have to tell me the story if you don't want to .but if you do I'm willing and ready .Let me trace my fingertips along them in a soothing manner. So don't fear that I will judge you .My goal is to love and learn from you .My goal is to show you that you are enough and you are loved .My goal is to show you your worth

I found a room, both quiet and slow, a room where the walls are thick. Where pixie dust is kept in jars, and paper rockets soar to Mars, and battles leave no lasting scars as clocks forget to tick. I guard this room, both small and bare, this room in which stories live. Where Peter Pan and Alice play, and Sinbad sails at dawn of day, and wolves cry 'boy' to get their way when ogres won’t forgive. With you I’ll share my hiding place, this room under cloak and spell. We’ll snuggle up inside a nook, and read a venturous story book, that makes us question in a look what nonsense fairies tell. In fictive plots and fabled ends, Our happy-e’er-afters dwell!

I don't think there's any deep psychological reason. It isn't comparable, say, to America's involvement with Vietnam and the emotional scars that that has left behind. A much more cogent way of looking at it is that the British have suddenly realized that they have their own equivalent of the perennial western. We have an immense, extremely colorful, diverse history of the empire, and I think people are just beginning to realize that there are jolly good stories there for the telling.

General Garrison assembled all of the men for a memorial service, and captured their feelings of sadness, fear, and resolve with the famous martial speech from Shakespeare’s Henry V: Whoever does not have the stomach for this fight, let him depart. Give him money to speed his departure since we wish not to die in that man’s company. Whoever lives past today and comes home safely will rouse himself every year on this day, show his neighbor his scars, and tell embellished stories of all their great feats of battle. These stories he will teach his son and from this day until the end of the world we shall be remembered. We few, we happy few, we band of brothers; for whoever has shed his blood with me shall be my brother. And those men afraid to go will think themselves lesser men as they hear of how we fought and died together.

Who but You, could breath and leave a trail of galaxies, and dream of me? What kind of love, is writing my story till the end, with Mercies pen? Only You. What kind of King, would chose to wear a crown that bleeds and scars, to win my heart? What kind of love, tells me I'm the reason He can't stay, inside the grave? You. Is it You? Stand here before my eyes, every part of my heart cries, ALIVE! ALIVE! Look what Mercy's overcome, death has lost and Love has won. Alive! Alive! Hallelujah, Risen Lord, The only one I fall before, I am His because He is, ... Alive!

The inventory of your scars, in particular the ones on your face, which are visible to you each morning when you look into the bathroom mirror to shave or comb you hair. You seldom think about them, but whenever you do, you understand that they are marks of life, that the assorted jagged lines etched into the skin of your face are letters from the secret alphabet that tells the story of who you are, for each scar is the trace of a healed wound, and each wound was caused by an unexpected collision with the world – that is to say, an accident, or something that need not have happened, since by definition an accident is something that need not to happen.

The first prick stung—holy gods, with the salt and iron, it hurt. She clamped her teeth together, mastered it, welcomed it. That was what the salt was for with this manner of tattoo, Rowan had told her. To remind the bearer of the loss. Good—good, was all she could think as the pain spiderwebbed through her back. Good. And when Rowan made the next mark, she opened her mouth and began her prayers. They were prayers she should have said ten years ago: an even-keeled torrent of words in the Old Language, telling the gods of her parents’ death, her uncle’s death, Marion’s death—four lives wiped out in those two days. With each sting of Rowan’s needle, she beseeched the faceless immortals to take the souls of her loved ones into their paradise and keep them safe. She told them of their worth—told them of the good deeds and loving words and brave acts they’d performed. Never pausing for more than a breath, she chanted the prayers she owed them as daughter and friend and heir. For the hours Rowan worked, his movements falling into the rhythm of her words, she chanted and sang. He did not speak, his mallet and needles the drum to her chanting, weaving their work together. He did not disgrace her by offering water when her voice turned hoarse, her throat so ravaged she had to whisper. In Terrasen she would sing from sunrise to sunset, on her knees in gravel without food or drink or rest. Here she would sing until the markings were done, the agony in her back her offering to the gods. When it was done her back was raw and throbbing, and it took her a few attempts to rise from the table. Rowan followed her into the nearby night-dark field, kneeling with her in the grass as she tilted her face up to the moon and sang the final song, the sacred song of her household, the Fae lament she’d owed them for ten years. Rowan did not utter a word while she sang, her voice broken and raw. He remained in the field with her until dawn, as permanent as the markings on her back. Three lines of text scrolled over her three largest scars, the story of her love and loss now written on her: one line for her parents and uncle; one line for Lady Marion; and one line for her court and her people. On the smaller, shorter scars, were the stories of Nehemia and of Sam. Her beloved dead. No longer would they be locked away in her heart. No longer would she be ashamed.

On our way down, we passed a two-story villa, hidden in a thicket of Chinese parasol trees, magnolia, and pines. It looked almost like a random pile of stones against the background of the rocks. It struck me as an unusually lovely place, and I snapped my last shot. Suddenly a man materialized out of nowhere and asked me in a low but commanding voice to hand over my camera. He wore civilian clothes, but I noticed he had a pistol. He opened the camera and exposed my entire roll of film. Then he disappeared, as if into the earth. Some tourists standing next to me whispered that this was one of Mao's summer villas. I felt another pang of revulsion toward Mao, not so much for his privilege, but for the hypocrisy of allowing himself luxury while telling his people that even comfort was bad for them. After we were safely out of earshot of the invisible guard, and I was bemoaning the loss of my thirty-six pictures, Jin-ming gave me a grin: "See where goggling at holy places gets you!" We left Lushan by bus. Like every bus in China, it was packed, and we had to crane our necks desperately trying to breathe. Virtually no new buses had been built since the beginning of the Cultural Revolution, during which time the urban population had increased by several tens of millions. After a few minutes, we suddenly stopped. The front door was forced open, and an authoritative-looking man in plainclothes squeezed in. "Get down! Get down!" he barked. "Some American guests are coming this way. It is harmful to the prestige of our motherland for them to see all these messy heads!" We tried to crouch down, but the bus was too crowded. The man shouted, "It is the duty of everyone to safeguard the honor of our motherland! We must present an orderly and dignified appearance! Get down! Bend your knees!" Suddenly I heard Jin-ming's booming voice: "Doesn'T Chairman Mao instruct us never to bend our knees to American imperialists?" This was asking for trouble. Humor was not appreciated. The man shot a stern glance in our direction, but said nothing. He gave the bus another quick scan, and hurried off. He did not want the "American guests' to witness a scene. Any sign of discord had to be hidden from foreigners. Wherever we went as we traveled down the Yangtze we saw the aftermath of the Cultural Revolution: temples smashed, statues toppled, and old towns wrecked. Litfie evidence remained of China's ancient civilization. But the loss went even deeper than this. Not only had China destroyed most of its beautiful things, it had lost its appreciation of them, and was unable to make new ones. Except for the much-scarred but still stunning landscape, China had become an ugly country.

For the guard with the scar over her heart: I’ve been watching you. You’re not like the other guards — the bowing, scraping, mindlessly loyal lizards who live for your queen. You have your own thoughts, don’t you? You’re smarter than the average SandWing. And I think I know your secret. Let’s talk about it. Third cell down, the one with two NightWings in it. I’m the one who doesn’t snore. I HAVE NO INTEREST IN DISCUSSING ANYTHING WITH A NIGHTWING PRISONER. WHOSE IDEA WAS IT TO LET YOU HAVE PAPER AND INK? You should be interested. You’re going to need allies for what you’re planning … and when I get out of here, I’m going to be a very useful ally indeed. AMUSING ASSUMPTIONS. MY QUEEN BELIEVES YOU’RE GOING TO BE IN HERE FOR A LONG, LONG TIME. True … but she also believes she’s going to be queen for a long, long time … doesn’t she. An interesting silence after my last note. Perhaps it would reassure you to know I set your notes on fire as soon as I’ve read them. You can tell me anything, my new, venomous-tailed friend. Believe me, Night-Wings are exceptionally skilled at keeping secrets. WE ARE NOT FRIENDS. I DON’T KNOW ANYTHING ABOUT YOU, OTHER THAN WHAT IT SAYS IN YOUR PRISONER FILE. FIERCETEETH: TRAITOR. KIDNAPPER. RINGLEADER OF ASSASSINATION PLOT. TO BE HELD INDEFINITELY WITH FELLOW TRAITOR STRONGWINGS, ON BEHALF OF THE NIGHTWING QUEEN. OH, YES, CERTAINLY SOUNDS LIKE A DRAGON ANYONE CAN TRUST. She’s not my queen. You can’t be a traitor to someone who shouldn’t be ruling over you in the first place. Which might be a thought you’ve had lately yourself, isn’t it? I know some things about you, even without a file. Saguaro: Prison guard. Schemer. Connected to great secret plans. We’re not so different, you and I. Particularly when it comes to trustworthiness. Just think, if my alleged “assassination plot” had worked, the NightWings would have a different queen right now. Perhaps it would even be me. Well, if at first you don’t succeed … I could tell you my story, if you get me more paper to write on. Or you could stop by one midnight and listen to it instead. But I’ve noticed you don’t like spending too much time in the dungeon. Is it the tip-tap of little scorpion claws scrabbling everywhere? The stench rising from the holes in the floor? The gibbering mad SandWing a few cages down who never shuts up, all night long? (What is her story? Has she really been here since the rule of Queen Oasis?) Or is it that you can too easily picture yourself behind these bars … and you know how close you are to joining us? ALL RIGHT, NIGHTWING, HERE’S A BLANK SCROLL. GO AHEAD AND TRY TO CONVINCE ME THAT YOU’RE A DRAGON WHO EVEN DESERVES TO LIVE, LET ALONE ONE I SHOULD WASTE MY TIME ON. I DO ENJOY BEING AMUSED.

Hassan still had not come back when night fell and moonlight bathed the clouds. Sanaubar cried that coming back had been a mistake, maybe even a worse one than leaving. But I made her stay. Hassan would return, I knew. He came back the next morning, looking tired and weary, like he had not slept all night. He took Sanaubar's hand in both of his and told her she could cry if she wanted to but she needn't, she was home now, he said, home with her family. He touched the scars on her face, ran his hand through her hair...Sometimes, I would look out the window into the yard and watch Hassan and his mother kneeling together, picking tomatoes or trimming a rosebush, talking. They were catching up on all the lost years, I suppose. As far as I know he never asked where she had been or why she left and she never told. I guess some stories do not need telling.

There were battles ahead, dangers she and Hanne would have to face. What they were attempting was audacious, maybe impossible, but somehow she knew they would manage it. Nina rested her cheek against Hanne’s. She’d honored Matthias, and this path, somewhere between revenge and redemption, was the right one. My place is with the wolves. Nina sat up straight. “Hanne, what do I call you now? Rasmus?” Hanne shuddered. “I can’t stand that. We’ll have to choose a new name. A Saint’s name. To honor the prince’s newfound faith in the Children of Djel.” “All Saints, you’re a quick learner. That’s a politician’s move.” “But we have to pick a good one.” “How about Demyan? Or Ilya? He was famous. And he changed the world.” Her prince smiled. “I don’t know the story.” “I’ll tell it to you,” Nina said. Outside, night was falling and the sky was full of stars. “I’ll tell you a thousand stories, my love. We’ll write the new endings, one by one.

I'm more excited than I'll admit when my hand closes around the paperback. It's like I've been handed a secret, a piece of her soul that she just decided to entrust with me. That's the way with writers--every word on a page like a window into their private place, exposing a great deal of vulnerability when they allow others to see inside. Even fiction is made up of the truthful scars of the people telling the story. I should know. I tell the same stories myself every day.

Let it hurt. Pick those flowers on your lungs and let it wither. Let your heart stop beating for someone who doesn’t deserves it. Let yourself be burn to your worst degree. Fall right down on your knees and scream the damn pain inside you. You’ve let the love to do its work, let it hurt. That’s part of its work. Let it bleed. Let the tears roll down your face. For once, allow yourself to be an artist. Let your mouth bleed with the unspoken feelings you’ve been wanting to say and be the author of your own story. Let the abstract in you be seen by the people who are doubting you. Do not cut your wrist, blood and scar might ruin your skin. I know, your heart was cut by the words they’ve stabbed on you, let it bleed with poetry and speak for yourself. Let it heal. For how many times people could’ve told you that time heals. Let me now tell you that it’s you, and you only, who could heal yourself. You could pick your broken pieces and build a better and stronger you. Let it heal, not for anyone. Let it heal for yourself. Even for once, let it be for yourself. And let it go. Snap out of the darkness you’re in right now. Let go of the pain that’s stopping you from moving forward. Let the toxic people go, you could’ve been better without them. Stop holding on to the anchor. Stop drowning yourself from sadness. You could always be happy. Just learn to let go of the things that keep you away from that possibility, just let go.

Don’t you see, Mhairie, if we don’t keep telling the stories, we shall forget them. And if we forget them, our marrow will leak away, our clan marrow will vanish. Now was not the time to forget. Now was the time to remember. Memory, Dearlea thought, is the life-pumping artery, the blood in that artery. Memory is the sinew, the muscle that stretches back to the Beyond and before the Beyond. Have we not come full circle? she wondered. Now is not the time to forget. She felt a quiet despair, for there was song deep within her desperate to get out. Lupus, she would not die with the song inside her! Her mother, who rode next to her on another narwhale’s back with Abban, turned toward her and howled, “Sing, Dearlea! Sing! You are a skreeleen. The first in this new world.” So Dearlea threw back her head and sang. And out of that dark place we fled That broken land so scarred and dead Our hopes our dreams forever gone. Then did we follow this wolf so bold To this place that did unfold As if lost in mists of time It was the Distant Blue A new world sublime. On a bridge of ice we walked and walked We now give thanks to Lupus, to Glaux, To Ursus and gods not known, And to whales who carried us The last way To here in our new home. The other creatures began to join in. The wolves howled, and from Toby’s and Burney’s deep chests came sonorous roars that stirred Faolan’s heart. Dearlea was so right to sing, to remind them of what they had left behind.

This is one of the untold stories of the war in Iraq. It is an example of the scars and the wounds about which no one wants to hear. Instead, we focus on the more than 2,600 deaths and argue about what they mean. Some think of them as a reasonable sacrifice for the greater good, while others consider them a terrible crime. But no one wants to think of the damage that’s been done to those who have returned home. We call those who served heroes and throw them a barbecue. We tell them we’ll take care of them. I

I do not know whether it is an act of faithfulness to her or a betrayal of the dignity she never lost, to say that she had bitten her tongue, to say that there was blood flowing across her mouth and lips which my brother kept wiping away. I do not know whether I have the right to say, though I will do so, that her body was shaken with epileptic tremors and that she took enormous, terrifying breaths that went on and on until you could not believe she had the strength for them. I do not know whether, as we thought at the time, she could feel our hands on her forehead and cheek, or whether she had waited until we were both there to die. I did not say 'I am here'. I did not say anything. Her mouth was open wide, as in those portraits by Francis Bacon of caged prisoners in their final extremity. I watched and listened to those terrifying, rattling, hoarse breaths, wondering at the strength remaining in her aged body and at the violence it still had to endure. I looked over at my brother as if he might know, as if he might understand whether she had the strength to continue. He was stroking her forehead, whispering soundlessly to her, attempting even at this moment to reach behind the veil and find her. If you believe that she knew we were there, if you believe--I cannot be sure--that she understood what her sons needed at that instant, her eyes which had been shut and which, by being closed, made her seem completely out of our reach, suddenly opened. Blue-grey eyes, staring up into the ceiling above her sons' heads, upwards, ever upwards, fixed like an exhausted swimmer on the shore. Then her eyes closed and she took the largest, most violent breath of all, and we watched and waited, stood and looked at each other, felt for her pulse and slowly, as seconds turned into minutes, realized that she would never breathe again. There is only one reason to tell you this, to present the scene. It is to say that what happens can never be anticipated. What happens escapes anything you can ever say about it. What happens cannot be redeemed. It can never be anything other than what it is. We tell stories as if to refuse this truth, as if to say that we make our fate, rather than simply endure it. But in truth we make nothing. We live, and we cannot shape life. It is much too great for us, too great for any words. A writer must refuse to believe this, must believe there is nothing that cannot somehow be said. Yet there at last in her presence, in the unending unfolding of that silence, which still goes on, which I still expect to be broken by another drawing in of breath, I knew that all my words could only be in vain, and that all that I had feared and all that I had anticipated could only be lived--without their help or hers.

On one side of the world were people whose relationship with the living world was shaped by Skywoman, who created a garden for the well-being of all. On the other side was another woman with a garden and a tree. But for tasting its fruit, she was banished from the garden and the gates clanged shut behind her. That mother of men was made to wander in the wilderness and earn her bread by the sweat of her brow, not by filling her mouth with the sweet juicy fruit that bent the branches low. In order to ear, she was instructed to subdue the wilderness into which she was cast. Same species, same earth, different stories. Like Creation stories everywhere, cosmologies are a source of identity and orientation to the world. They tell us who we are. We are inevitably shaped by them no matter how distant they may be from our consciousness. One story leads to the generous embrace of the living world, the other to banishment. One woman is our ancestral gardener, a cocreator of the good green world that would be the home of her descendants. The other was an exile, just passing through an alien world on a rough road to her real home in heaven. And then they met—the offspring of Skywoman and the children of Eve- and the land around us bears the scars of that meeting, the echoes of our stories.

We all have scars. Some of them, like the one you and me share, you can see with your eyes. Some of them, you ink, like you do, on your skin so that they tell the story like a picture book. Like a badge of honour that you overcame something really bad. Then there are others, like the scar that stays in your heart when you’re left alone in a hospital room for a week without anyone visiting you, or when you sleep on a metal bed in a concrete prison filled with bad men or weak men who only touch each other to sin in one way or another. I think it’s harder to talk about those scars and it’s harder to get over them because they wrap around you like poison ivy, making it hard to breathe and pump blood through your heart in the normal way.

UNDERBELLY Wouldbelove, do not think of me as a whetstone until you hear the whole story: In it, I’m not the hero, but I’m not the villain either so let’s say, in the story, I was human and made of human-things: fear and hands, underbelly and blade. Let me say it plain: I loved someone and I failed at it. Let me say it another way: I like to call myself wound but I will answer to knife. Sometimes I think we have the same name, Notquitelove. I want to be soft, to say here is my underbelly and I want you to hold the knife, but I don’t know what I want you to do: plunge or mercy. I deserve both. I want to hold and be held. Let me say it again, Possiblelove: I’m not sure you should. The truth is: If you don’t, I won’t die of want or lonely, just time. And not now, not even soon. But that’s how every story ends eventually. Here is how one might start: Before. The truth? I’m not a liar but I close my eyes a lot, Couldbelove. Before, I let a blade slide itself sharp against me. Look at where I once bloomed red and pulsing. A keloid history. I have not forgotten the knife or that I loved it or what it was like before: my unscarred body visits me in dreams and photographs. Maybelove, I barely recognize it without the armor of its scars. I am trying to tell the truth: the dreams are how I haunt myself. Maybe I’m not telling the whole story: I loved someone and now I don’t. I can’t promise to leave you unscarred. The truth: I am a map of every blade I ever held. This is not a dream. Look at us now: all grit and density. What, Wouldbelove do you know of knives? Do you think you are a soft thing? I don’t. Maybe the truth is: Both. Blade and guard. My truth is: blade. My hands on the blade; my hands, the blade; my hands carving and re-carving every overzealous fibrous memory. The truth is: I want to hold your hands because they are like mine. Holding a knife by the blade and sharpening it. In your dreams, how much invitation to pierce are you? Perhapslove, the truth is: I am afraid we are both knives, both stones, both scarred. Or we will be. The truth is: I have made fire before: stone against stone. Mightbelove, I have sharpened this knife before: blade against blade. I have hurt and hungered before: flesh against flesh. I won’t make a dull promise.

It is true. I did fall asleep at the wheel. We nearly went right off a cliff down into a gorge. But there were extenuating circumstances.” Ian snickered. “Are you going to pull out the cry-baby card? He had a little bitty wound he forgot to tell us about, that’s how small it was. Ever since he fell asleep he’s been trying to make us believe that contributed.” “It wasn’t little. I have a scar. A knife fight.” Sam was righteous about it. “He barely nicked you,” Ian sneered. “A tiny little slice that looked like a paper cut.” Sam extended his arm to Azami so she could see the evidence of the two-inch line of white marring his darker skin. “I bled profusely. I was weak and we hadn’t slept in days.” “Profusely?” Ian echoed. “Ha! Two drops of blood is not profuse bleeding, Knight. We hadn’t slept in days, that much is true, but the rest . . .” He trailed off, shaking his head and rolling his eyes at Azami. Azami examined the barely there scar. The knife hadn’t inflicted much damage, and Sam knew she’d seen evidence of much worse wounds. “Had you been drinking?” she asked, her eyes wide with innocence. Those long lashes fanned her cheeks as she gaze at him until his heart tripped all over itself. Sam groaned. “Don’t listen to him. I wasn’t drinking, but once we were pretty much in the middle of a hurricane in the South Pacific on a rescue mission and Ian here decides he has to go into this bar . . .” “Oh, no.” Ian burst out laughing. “You’re not telling her that story.” “You did, man. He made us all go in there, with the dirtbag we’d rescued, by the way,” Sam told Azami. “We had to climb out the windows and get on the roof at one point when the place flooded. I swear ther was a crocodile as big as a house coming right at us. We were running for our lives, laughing and trying to keep that idiot Frenchman alive.” “You said to throw him to the crocs,” Ian reminded. “What was in the bar that you had to go in?” Azami asked, clearly puzzled. “Crocodiles,” Sam and Ian said simultaneously. They both burst out laughing. Azami shook her head. “You two could be crazy. Are you making these stories up?” “Ryland wishes we made them up,” Sam said. “Seriously, we’re sneaking past this bar right in the middle of an enemy-occupied village and there’s this sign on the bar that says swim with the crocs and if you survive, free drinks forever. The wind is howling and trees are bent almost double and we’re carrying the sack of shit . . . er . . . our prize because the dirtbag refuses to run even to save his own life—” “The man is seriously heavy,” Ian interrupted. “He was kidnapped and held for ransom for two years. I guess he decided to cook for his captors so they wouldn’t treat him bad. He tried to hide in the closet when we came for him. He didn’t want to go out in the rain.” “He was the biggest pain in the ass you could imagine,” Sam continued, laughing at the memory. “He squealed every time we slipped in the mud and went down.” “The river had flooded the village,” Sam added. “We were walking through a couple of feet of water. We’re all muddy and he’s wiggling and squeaking in a high-pitched voice and Ian spots this sign hanging on the bar.

Poet's Note: Kindly do not use my poem without giving me due credit. Do not use bits and pieces to suit your agenda of Kashmir whatever it may be. I, Srividya Srinivasan as the creator of this poem own the right to what I have chosen to feel about the issue and have represented all sides to a complex problem that involves people. I do not believe in war or violence of any kind and this is my compassionate side speaking from all angles to human beings thinking they own only their side to the story. THIS POEM IS THE ORIGINAL WORK OF SRIVIDYA SRINIVASAN and any misuse by you shall be considered as a violation of my copyrights and legally actionable. This poem is dedicated to all those who have suffered in Kashmir and through Kashmir and to not be sliced and interpreted to each one's convenience. ---------------------------- Weep softly O mother, the walls have ears you know... The streets are awash o mother! I cannot go searching for him anymore. The streets are awash o mother with blood and tears, pellets and screams. that silently remain locked in the air, while they seal our soulless dreams. The guns are out, O mother, while our boys go armed with stones, I cannot go looking for him O mother, I have no courage to face what I will find. For, I need to tend to this little one beside, with bound eyes that see no more. ----- Weep for the home we lost O mother, Weep for the valley we left behind, the hills that once bore our names, where shoulder to shoulder, we walked the vales, proud of our heritage. Hunted out of our very homes, flying like thieves in the night, abandoning it all, fearful for the lives of our men, fearful of our being raped, our children killed, Kafirs they called us O mother, they marked our homes to kill. We now haunt the streets of other cities, refugees in a country we call our own, belonging nowhere, feeling homeless without the land we once called home. ------------- Weep loudly O mother, for the nation hears our pain. As the fresh flag moulds his cold body, I know his sacrifice was not in vain. We need to put our chins up, O mother and face this moment with pride. For blood is blood, and pain is pain, and death is final, The false story we must tell ourselves is that we are always the right side, and forget the pain we inflict on the other side. Until it all stops, it must go on, the dry tears on either side, Every war and battle is within and without, and must claim its wounds and leave its scars, And, if we need to go on O mother, it matters we feel we are on the right side. We need to tell ourselves we are always the right sight... We need to repeat it a million times, We are always the right side... For god forbid, what if we were not? --- Request you to read the full poem on my website.

Then it hits me. She doesn’t want me to see her scars. Her hands are attempting to cover the soft skin there as she pulls against my hold on her. “Stop, baby,” I whisper. I could release her now and move on to another area of her body, but something tells me that isn’t what she really needs. That will only confirm her fears that I find her imperfections ugly and that’s far from the truth. It pains me to see the evidence of how long and hard she’s been crying out for help, with no one listening. The marks are a part of who she is and every one of them tells the story of Rose Madden. Do I hope that another angry red line never mars her body? Absolutely. But I’m in no way repulsed by the ones that do. It’s how she has coped with a world that prizes perfection above all else. She’s begging to be accepted for the person beneath the public face. And I see her. The beautifully imperfect woman who’s spent her life feeling as if she was never good enough for the people who were supposed to love her unconditionally.

And then I saw it. My father's wood: thick by then with twenty years' growth, but still not fully mature. A half-grown wood of oak trees around that little clearing, which, with my new perspective, I could see made the shape of a heart. I stared down at the clearing. The heart was unmistakable; tapered at the base with the strawberry field in the centre; a stand of trees to form the cleft. How long had it taken my father, I thought, to plan the formation, to plant out the trees? How many calculations had he made to create this God's-eye view? I thought of the years I had been at school; the years I had felt his absence. I remembered the contempt I'd felt at his little hobby. And finally I understood what he'd tried to say to me on the night of my wedding. 'Love is the thing that only God sees.' I'd wondered at the time what he meant. My father seldom spoke of love; rarely showed affection. Perhaps that was Tante Anna's influence, or maybe the few words he'd had were all spent on Naomi. But here it was at last, I saw: the heart-shaped meadow in the wood, a silent testament to grief; a last, enduring promise. Love is the thing that only God sees. I supposeyou'dsay that's because he sees into our hearts. Well, if he ever looks in mine, he'll see no more than I've told you. Confession may be good for the soul. But love is even better. Love redeems us even when we think ourselves irredeemable. I never really loved my wife- not in the way that she deserved. My children and I were never close. Perhaps that was my fault, after all. But Mimi- yes, I loved Mimi. And I loved Rosette Rocher, who was so very like her. One day I hope Rosette will see the heart-shaped meadow in the wood, and know that love surrounds her, whether see can see it or not. And you, Reynaud. I hope one day you can feel what only God sees, but which grows from the hearts of people like us: the flawed; the scarred; the broken. I hope you find it one day, Reynaud. Till then, look after Rosette for me. Make sure she knows my story. Tell her to take care of my wood. And keep picking the strawberries.

And then I saw it. My father's wood: thick by then with twenty years' growth, but still not fully mature. A half-grown wood of oak trees around that little clearing, which, with my new perspective, I could see made the shape of a heart. I stared down at the clearing. The heart was unmistakable; tapered at the base with the strawberry field in the centre; a stand of trees to form the cleft. How long had it taken my father, I thought, to plan the formation, to plant out the trees? How many calculations had he made to create this God's-eye view? I thought of the years I had been at school; the years I had felt his absence. I remembered the contempt I'd felt at his little hobby. And finally I understood what he'd tried to say to me on the night of my wedding. 'Love is the thing that only God sees.' I'd wondered at the time what he meant. My father seldom spoke of love; rarely showed affection. Perhaps that was Tante Anna's influence, or maybe the few words he'd had were all spent on Naomi. But here it was at last, I saw: the heart-shaped meadow in the wood, a silent testament to grief; a last, enduring promise. Love is the thing that only God sees. I suppose you'd say that's because he sees into our hearts. Well, if he ever looks in mine, he'll see no more than I've told you. Confession may be good for the soul. But love is even better. Love redeems us even when we think ourselves irredeemable. I never really loved my wife- not in the way that she deserved. My children and I were never close. Perhaps that was my fault, after all. But Mimi- yes, I loved Mimi. And I loved Rosette Rocher, who was so very like her. One day I hope Rosette will see the heart-shaped meadow in the wood, and know that love surrounds her, whether see can see it or not. And you, Reynaud. I hope one day you can feel what only God sees, but which grows from the hearts of people like us: the flawed; the scarred; the broken. I hope you find it one day, Reynaud. Till then, look after Rosette for me. Make sure she knows my story. Tell her to take care of my wood. And keep picking the strawberries.

History is storytelling,’” Yaw repeated. He walked down the aisles between the rows of seats, making sure to look each boy in the eye. Once he finished walking and stood in the back of the room, where the boys would have to crane their necks in order to see him, he asked, “Who would like to tell the story of how I got my scar?” The students began to squirm, their limbs growing limp and wobbly. They looked at each other, coughed, looked away. “Don’t be shy,” Yaw said, smiling now, nodding encouragingly. “Peter?” he asked. The boy who only seconds before had been so happy to speak began to plead with his eyes. The first day with a new class was always Yaw’s favorite. “Mr. Agyekum, sah?” Peter said. “What story have you heard? About my scar?” Yaw asked, smiling still, hoping, now to ease some of the child’s growing fear. Peter cleared his throat and looked at the ground. “They say you were born of fire,” he started. “That this is why you are so smart. Because you were lit by fire.” “Anyone else?” Timidly, a boy named Edem raised his hand. “They say your mother was fighting evil spirits from Asamando.” Then William: “I heard your father was so sad by the Asante loss that he cursed the gods, and the gods took vengeance.” Another, named Thomas: “I heard you did it to yourself, so that you would have something to talk about on the first day of class.” All the boys laughed, and Yaw had to stifle his own amusement. Word of his lesson had gotten around, he knew. The older boys told some of the younger ones what to expect from him. Still, he continued, making his way back to the front of the room to look at his students, the bright boys from the uncertain Gold Coast, learning the white book from a scarred man. “Whose story is correct?” Yaw asked them. They looked around at the boys who had spoken, as though trying to establish their allegiance by holding a gaze, casting a vote by sending a glance. Finally, once the murmuring subsided, Peter raised his hand. “Mr. Agyekum, we cannot know which story is correct.” He looked at the rest of the class, slowly understanding. “We cannot know which story is correct because we were not there.” Yaw nodded. He sat in his chair at the front of the room and looked at all the young men. “This is the problem of history. We cannot know that which we were not there to see and hear and experience for ourselves. We must rely upon the words of others. Those who were there in the olden days, they told stories to the children so that the children would know, so that the children could tell stories to their children. And so on, and so on. But now we come upon the problem of conflicting stories. Kojo Nyarko says that when the warriors came to his village their coats were red, but Kwame Adu says that they were blue. Whose story do we believe, then?” The boys were silent. They stared at him, waiting. “We believe the one who has the power. He is the one who gets to write the story. So when you study history, you must always ask yourself, Whose story am I missing? Whose voice was suppressed so that this voice could come forth? Once you have figured that out, you must find that story too. From there, you begin to get a clearer, yet still imperfect, picture.

“Does your heart implode into an infinite care for your other?” “Does it explode into a million stars?” “Do you feel warm and hold the desire to harbor?” “Would you fly the biggest plane into war?” “Could you change the direction of the starboard?” “If all you understood could immediately be over?” “The dark blue sky is infinite and fast forward.” “How much do you want to keep him safe from harm?” “Would you cut the wires knowingly to disable a bomb?” “To which or what does your sun revolve?” “What do you call your world?” “How many of its problems would you willingly solve?” “How many flags of pride for him will you unfurl?” “How big is your once broken vestige?” “Can you heal from your fleshwounds?” “To carry him on and on, even covered in scars?” “To be shot for the only, To be the carrier and keep it going.” “Even when the sound of every blackhole in space roars?” “Can you question your unholy gods in the name of love?” “Can you hold on even when you can see the reaper settling in?” “Can you curse those who fly far up and above?” “Would your golden soul settle to make due and amend?” “The river of euphrates flows over the globe.” “White clouds, rainfall coming down, droplets from the overdome.” “Are you to agree that you can set fire and land in the aerodrome?” “Even when the shooting rocks from millions of miles away decay your airspace?” “Would you tense up your strings and hold an angry face.” “One that circles around back to the care you have to display?” “How much can you love one person?” “How instantaneous, like spontaneous combustion.” “Can you see why you care this much in their eyes?” “Can you see the water fall from the skies?” “Can you see the sun rising to revolve around them once more?” “Can you see the falls from the cliff ledges and the birds?” “Can you foresee what the future has in store?” “Every story has only one narrator, Every view sought through two eyes.” “Your care, your love for him is not a disguise.” “It is a ground shaking thing to feel, you fly.” “The tremors, the earth-shattering quakes under the plates.” “You can only care anymore, no longer do you despise.” “All the angry lines are gone from the sands of time.” “Can you wonder, can you tell anyone or even explain why?” “Can you hold true for the next million years, Right by his side?” “Can you lose your fears to continue to try?” “Jump a million worlds, fall a million skies.” “Infinite voids, infinite times.” “For one world’s sunrise.

We’ve had no luck in finding a cure or even a hint of one. Marry. Forge an alliance. Make an heir. Secure the throne and Ravka’s future.” “I will,” he said wearily. “I’ll do all of it. But not tonight. Tonight let’s pretend we’re an old married couple.” If any other man had said such a thing, she would have punched him in the jaw. Or possibly taken him to bed for a few hours. “And what does that entail?” “We’ll tell each other lies as married couples do. It will be a good game. Go on, wife. Tell me I’m a handsome fellow who will never age and who will die with all of his own teeth in his head. Make me believe it.” “I will not.” “I understand. You’ve never had a talent for deception.” Zoya knew he was goading her, but her pride pricked anyway. “How can you be so sure? Perhaps the list of my talents is so long you just haven’t gotten to the end.” “Go on, then, Nazyalensky.” “Dearest husband,” she said, making her voice honey sweet, “did you know the women of my family can see the future in the stars?” He huffed a laugh. “I did not.” “Oh yes. And I’ve seen your fate in the constellations. You will grow old, fat, and happy, father many badly behaved children, and future generations will tell your story in legend and song.” “Very convincing,” Nikolai said. “You’re good at this game.

Ever since the 1960s, upon the urging of Dr. T. Berry Brazelton and the all-knowing Dr. Spock,* mothers have been encouraged to read to their children at a very early age. For toddlers and preschoolers who relish this early diet of literacy, libraries become a second home, story hour is never long enough, and parents can’t finish a book without hearing a little voice beg, “Again… again.” For most literary geek girls, it’s at this age that they discover their passion for reading. Whether it’s Harold and the Purple Crayon or Strega Nona, books provide the budding literary she-geek with a glimpse into an all-new world of magic and make-believe—and once she visits, she immediately wants to apply for full-time citizenship. “We tell ourselves stories in order to live.” —author Joan Didion, in The White Album While some children spend their summers sweating on community sports teams or learning Indigo Girls songs at sleep-away camp, our beloved bookworms are more interested in joining their local library’s summer reading program, completing twenty-five books during vacation, and earning a certificate of recognition signed by their city’s mayor. (Plus, that Sony Bloggie Touch the library is giving away to the person who logs the most hours reading isn’t the worst incentive, either. It’ll come in handy for that book review YouTube channel she’s been thinking about starting!) When school starts back up again, her friends will inevitably show off their tan lines and pony bead friendship bracelets, and our geek girl will politely oblige by oohing and aahing accordingly. But secretly she’s bursting with pride over her summer’s battle scars—the numerous paper cuts she got while feverishly turning the pages of all seven Harry Potter books.

Last night I undressed for bed. But instead of crawling between the sheets I decided to stand, naked, in front of the large full-length mirror that is propped against the wall next to my bed. ⠀ ⠀ I turned off the bright lights, and found a song that spoke to the energy I could feel under my skin. For a while I just stood there. And I looked at myself. Bare skin. Open Heart. Clear truth. ⠀ ⠀ It's a wonder, after 42 years on earth, to allow it to fully land, this knowing that I can stop, and look at myself and think things other than unkind words. ⠀ ⠀ Don't get me wrong. I don't want to paint you a pretty social media picture that doesn't play out in real life. I'm not suddenly completely fine with all that is. I'm human and I'm a woman in the midst of this particular culture, and so of course I'd love to be tighter and firmer and lifted. I'd love to have the skin and metabolism I did in my twenties. I wish, often, that my stomach were flatter. I wear makeup and I dye away my gray hair. I worry about these things too, of course I do. ⠀ ⠀ But finally, and fully - I can stand and look at myself and be filled, completely, with love. I can look at myself entirely bare and think, yes, I like myself now. Just as I am. Even if nothing changes. This me. She is good. And she is beautiful. ⠀ ⠀ And even in the space of allowing myself to be human, and annoyed with those things I view as imperfections, I honor and celebrate this shift. ⠀ ⠀ And so last night I was able to stand there. Naked and unashamed and run my own hands gently along my own skin. To offer the tenderness of the deepest seduction. To practice being my own best lover, to romance my own soul. To light the candles and buy the flowers. To hold space for my own knowing. ⠀ ⠀ And to touch my own skin while the music played. Gently. Lightly. With reverence. My thighs, my arms, my breasts, my belly, the points where my pulse makes visible that faint movement that proves me alive. To trace the translucent blue veins, the scars, the ink that tells stories. To whisper to the home of my own desire. ⠀ ⠀ I love you. ⠀ I respect your knowing. ⠀ Thank you for waiting for me to get here. ⠀ I finally see that you are holy.

The key point is that these patterns, while mostly stable, are not permanent: certain environmental experiences can add or subtract methyls and acetyls, changing those patterns. In effect this etches a memory of what the organism was doing or experiencing into its cells—a crucial first step for any Lamarck-like inheritance. Unfortunately, bad experiences can be etched into cells as easily as good experiences. Intense emotional pain can sometimes flood the mammal brain with neurochemicals that tack methyl groups where they shouldn’t be. Mice that are (however contradictory this sounds) bullied by other mice when they’re pups often have these funny methyl patterns in their brains. As do baby mice (both foster and biological) raised by neglectful mothers, mothers who refuse to lick and cuddle and nurse. These neglected mice fall apart in stressful situations as adults, and their meltdowns can’t be the result of poor genes, since biological and foster children end up equally histrionic. Instead the aberrant methyl patterns were imprinted early on, and as neurons kept dividing and the brain kept growing, these patterns perpetuated themselves. The events of September 11, 2001, might have scarred the brains of unborn humans in similar ways. Some pregnant women in Manhattan developed post-traumatic stress disorder, which can epigenetically activate and deactivate at least a dozen genes, including brain genes. These women, especially the ones affected during the third trimester, ended up having children who felt more anxiety and acute distress than other children when confronted with strange stimuli. Notice that these DNA changes aren’t genetic, because the A-C-G-T string remains the same throughout. But epigenetic changes are de facto mutations; genes might as well not function. And just like mutations, epigenetic changes live on in cells and their descendants. Indeed, each of us accumulates more and more unique epigenetic changes as we age. This explains why the personalities and even physiognomies of identical twins, despite identical DNA, grow more distinct each year. It also means that that detective-story trope of one twin committing a murder and both getting away with it—because DNA tests can’t tell them apart—might not hold up forever. Their epigenomes could condemn them. Of course, all this evidence proves only that body cells can record environmental cues and pass them on to other body cells, a limited form of inheritance. Normally when sperm and egg unite, embryos erase this epigenetic information—allowing you to become you, unencumbered by what your parents did. But other evidence suggests that some epigenetic changes, through mistakes or subterfuge, sometimes get smuggled along to new generations of pups, cubs, chicks, or children—close enough to bona fide Lamarckism to make Cuvier and Darwin grind their molars.