Scratch Art Quotes

Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it--the thinking, the scratched-out words, the pages I burned in disgust. All you see, in the end, is what I want you to see.

That was the real secret of the Tarahumara: they'd never forgotten what it felt like to love running. They remembered that running was mankind's first fine art, our original act of inspired creation. Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle--behold, the Running Man. Distance running was revered because it was indispensable; it was the way we survived and thrived and spread across the planet. You ran to eat and to avoid being eaten; you ran to find a mate and impress her, and with her you ran off to start a new life together. You had to love running, or you wouldn't live to love anything else. And like everyhing else we ove--everything we sentimentally call our 'passions' and 'desires' it's really an encoded ancestral necessity. We were born to run; we were born because we run. We're all Running People, as the Tarahumara have always known.

Photography is an itch that wont go away. No matter how much you scratch it.

Nick sat on the stairs, completely comatose. He stared straight ahead as if he'd been frozen in place. "Nick? You all right?" He didn't respond. Kyrian moved around him until he stood in front of him. He snapped his fingers in front of Nick's face. "Kid?" Nick blinked before he met Kyrian's gaze. "I'm not worthy," he said in a breathless tone. Baffled by his comment, Kyrian stared at him. "What?" Nick gestured towards his cars. "Dude that's a Ferrari, Lamborghini, Bugatti, Alfa Romeo, Aston Martin, and a Bentley. And I'm not talking the cheap models. Those are the top of the top of the top of the line, fully loaded. I swear, that's real gold trim in the Bugatti. There's more money in metal in here than my brain can even tabulate. Oh my God! I shouldn't even be breathing the same air." Kyrian laughed at his awed tone. "It's all right, Nick. I need you to clean them." "Are you out of your ever-loving mind? What if I scratch them?" "You won't" "Nah I might. Those aren't cars, Kyrian. Those are works of art. I'm talking serious modes of transportation." "I know, and I drive them all the time." "No, no, no, no, no. I can't touch something so fine. I can't" Kyrian cuffed him on the shoulder. "Yes, you can. They don't bite, and they need to be washed.

But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel...it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.

CARL SAGAN SAID that if you want to make an apple pie from scratch, you must first invent the universe. When he says “from scratch,” he means from nothing. He means from a time before the world even existed. If you want to make an apple pie from nothing at all, you have to start with the Big Bang and expanding universes, neutrons, ions, atoms, black holes, suns, moons, ocean tides, the Milky Way, Earth, evolution, dinosaurs, extinction- level events, platypuses, Homo erectus, Cro- Magnon man, etc. You have to start at the beginning. You must invent fire. You need water and fertile soil and seeds. You need cows and people to milk them and more people to churn that milk into butter. You need wheat and sugar cane and apple trees. You need chemistry and biology. For a really good apple pie, you need the arts. For an apple pie that can last for generations, you need the printing press and the Industrial Revolution and maybe even a poem.To make a thing as simple as an apple pie, you have to create the whole wide world.

Way before we were scratching pictures on caves or beating rhythms on hollow trees we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain.

No historical movement can leap outside of history and start from scratch.

He was a puppy and someone loving his art was a killer scratch behind the ears. That was really it.

People wonder when you're allowed to call yourself a writer. I think maybe the answer is when you recognize that is work." - Nina MacLaughlin, 'With Compliments

Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it – the thinking, the scratched-out words, the pages I burned in disgust. All you see, in the end, is what I want you to see. Such is politics.

Scratch beneath the thin veneer of glamour and much of the routine work of MI6 was a form of glorified train-spotting – with a little plane- and boat-spotting thrown in.

Margo?" came Mom's voice from the kitchen. "Honey, is that you?" I rolled my eyes. "No, it's a burglar. I've come to steal all your silverware and jewelry. And your cat," I added, giving Ziggy another scratch.

Reading these stories, it's tempting to think that the arts to be learned are those of tracking, hunting, navigating, skills of survival and escape. Even in the everyday world of the present, an anxiety to survive manifests itself in cars and clothes for far more rugged occasions than those at hand, as though to express some sense of the toughness of things and of readiness to face them. But the real difficulties, the real arts of survival, seem to lie in more subtle realms. There, what's called for is a kind of resilience of the psyche, a readiness to deal with what comes next. These captives lay out in a stark and dramatic way what goes on in every life: the transitions whereby you cease to be who you were. Seldom is it as dramatic, but nevertheless, something of this journey between the near and the far goes on in every life. Sometimes an old photograph, an old friend, an old letter will remind you that you are not who you once were, for the person who dwelt among them, valued this, chose that, wrote thus, no longer exists. Without noticing it you have traversed a great distance; the strange has become familiar and the familiar if not strange at least awkward or uncomfortable, an outgrown garment. And some people travel far more than others. There are those who receive as birthright an adequate or at least unquestioned sense of self and those who set out to reinvent themselves, for survival or for satisfaction, and travel far. Some people inherit values and practices as a house they inhabit; some of us have to burn down that house, find our own ground, build from scratch, even as a psychological metamorphosis.

Habits are undeniably useful tools, relieving us of the need to run a complex mental operation every time we’re confronted with a new task or situation. Yet they also relieve us of the need to stay awake to the world: to attend, feel, think, and then act in a deliberate manner. (That is, from freedom rather than compulsion.) If you need to be reminded how completely mental habit blinds us to experience, just take a trip to an unfamiliar country. Suddenly you wake up! And the algorithms of everyday life all but start over, as if from scratch. This is why the various travel metaphors for the psychedelic experience are so apt. The efficiencies of the adult mind, useful as they are, blind us to the present moment. We’re constantly jumping ahead to the next thing. We approach experience much as an artificial intelligence (AI) program does, with our brains continually translating the data of the present into the terms of the past, reaching back in time for the relevant experience, and then using that to make its best guess as to how to predict and navigate the future. One of the things that commends travel, art, nature, work, and certain drugs to us is the way these experiences, at their best, block every mental path forward and back, immersing us in the flow of a present that is literally wonderful—wonder being the by-product of precisely the kind of unencumbered first sight, or virginal noticing, to which the adult brain has closed itself. (It’s so inefficient!) Alas, most of the time I inhabit a near-future tense, my psychic thermostat set to a low simmer of anticipation and, too often, worry. The good thing is I’m seldom surprised. The bad thing is I’m seldom surprised.

...DAMNATION!' No device of the printer's art, not even capital letters, can indicate the intensity of that shriek of rage. Emerson is known to his Egyptian workers by the admiring sobriquet of Father of Curses. The volume as well as the content of his remarks earned him the title; but this shout was extraordinary even by Emerson's standards, so much so that the cat Bastet, who had become more or less accustomed to him, started violently, and fell with a splash into the bathtub. The scene that followed is best not described in detail. My efforts to rescue the thrashing feline were met with hysterical resistance; water surged over the edge of the tub and onto the floor; Emerson rushed to the rescue; Bastet emerged in one mighty leap, like a whale broaching, and fled -- cursing, spitting, and streaming water. She and Emerson met in the doorway of the bathroom. The ensuing silence was broken by the quavering voice of the safragi, the servant on duty outside our room, inquiring if we required his assistance. Emerson, seated on the floor in a puddle of soapy water, took a long breath. Two of the buttons popped off his shirt and splashed into the water. In a voice of exquisite calm he reassured the servant, and then transferred his bulging stare to me. I trust you are not injured, Peabody. Those scratches...' The bleeding has almost stopped, Emerson. It was not Bastet's fault.' It was mine, I suppose,' Emerson said mildly. Now, my dear, I did not say that. Are you going to get up from the floor?' No,' said Emerson. He was still holding the newspaper. Slowly and deliberately he separated the soggy pages, searching for the item that had occasioned his outburst. In the silence I heard Bastet, who had retreated under the bed, carrying on a mumbling, profane monologue. (If you ask how I knew it was profane, I presume you have never owned a cat.)

The Internet is no longer new; it’s old enough to drink legally.

Insularity is the bane of creativity only so far as we allow it to be.

Writers are encouraged to believe they are dispositionally opposed to careers in finance, transactions, or law. They are encouraged to self-mythologize as artsy and/or loner and/or incompetent folk.

Once she called to invite me to a concert of Liszt piano concertos. The soloist was a famous South American pianist. I cleared my schedule and went with her to the concert hall at Ueno Park. The performance was brilliant. The soloist's technique was outstanding, the music both delicate and deep, and the pianist's heated emotions were there for all to feel. Still, even with my eyes closed, the music didn't sweep me away. A thin curtain stood between myself and pianist, and no matter how much I might try, I couldn't get to the other side. When I told Shimamoto this after the concert, she agreed. "But what was wrong with the performance?" she asked. "I thought it was wonderful." "Don't you remember?" I said. "The record we used to listen to, at the end of the second movement there was this tiny scratch you could hear. Putchi! Putchi! Somehow, without that scratch, I can't get into the music!" Shimamoto laughed. "I wouldn't exactly call that art appreciation." "This has nothing to do with art. Let a bald vulture eat that up, for all I care. I don't care what anybody says; I like that scratch!" "Maybe you're right," she admitted. "But what's this about a bald vulture? Regular vultures I know about--they eat corpses. But bald vultures?" In the train on the way home, I explained the difference in great detail.The difference in where they are born, their call, their mating periods. "The bald vulture lives by devouring art. The regular vulture lives by devouring the corpses of unknown people. They're completely different." "You're a strange one!" She laughed. And there in the train seat, ever so slightly, she moved her shoulder to touch mine. The one and only time in the past two months our bodies touched.

Almost a decade ago I attended a reading, the impression of which still lingers like the marks of a wire chair on the backs of summer thighs.

Artists have that itching need to create--to scratch the abyss of imagination that makes us feel more than humanly alive.

Art was there to scratch at people’s brains, to help ideas find traction in metaphor that they could not when made explicit.

Interior decoration is not just one's artistic efforts, but it is that which your home (even if it is just a room) is. If you are 'decorating' with clothes draped on every chair, with scratched and broken furniture- it is still your interior decoration! Your home expresses you to other people, and they cannot see or feel your daydreams of what you expect to make in that misty future, when all the circumstances are what you think they must be before you will find it worthwhile to start. You have started, whether you recognize that fact or not! We foolish mortals sometimes live through years not realizing how short life is, and that TODAY is your life.

Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it—the thinking, the scratched-out words, the pages I burned in disgust. All you see, in the end, is what I want you to see. Such is politics.

I’ll be honest with you. The variables that construct my existence are confusing. Like handwritten math equations jammed together on a sloppy page of homework. They don’t make any sense. One math problem leads to another, and then another and so it goes. One day you realize that your life is one whole page of problems and nothing ever gets solved. One ongoing equation with no equal sign at the end. But it occurred to me, beneath the canopy of a starlight heaven, that I’d been looking at my life all wrong. It wasn’t a math equation. Things weren’t supposed to add up. There was no solution. In fact, there was no problem. Life’s variables and numbers and pages of chicken scratch weren’t mathematical marks. They were art. A drawing. An abstract painting. It was meant to be beautiful, not sensical. And embedded within the mess of it all were miracles. Small ones. I’d never paid attention to them because I was too busy, but it didn’t make them less real.

True story: a friend received a preliminary diagnosis suggesting advanced breast cancer. Normally shy, she took this as license to tell or show everyone in her circle how little she liked or respected them. False alarm. It was cat-scratch fever. She moved overseas.

What I know is less important than what the world sees,’ Kit said. ‘Allow me to indulge in a little allegory. Art. Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it – the thinking, the scratched-out words, the pages I burned in disgust. All you see, in the end, is what I want you to see. Such is politics.

There were no words for that, no ceremony that would garantee your future. Every day was just that: a day, a blank, a nothing, in which you had to invent yourself and your friendship from scratch. The weight of everything you'd ever donewas nothing. It could all vanish just like that. Just like this.

MOMA's values were blown through the American education system, from high school upwards-and downwards, too, greatly raising the status of "creativity" and "self-expression" in kindergarten. By the 1970s, the historical study of modern art had expanded to the point where students were scratching for unexploited thesis subjects. By the mid-eighties, twenty-one-year-old art-history majors would be writing papers on the twenty-six-year-old graffitists.

Funnel The family story tells, and it was told true, of my great-grandfather who begat eight genius children and bought twelve almost-new grand pianos. He left a considerable estate when he died. The children honored their separate arts; two became moderately famous, three married and fattened their delicate share of wealth and brilliance. The sixth one was a concert pianist. She had a notable career and wore cropped hair and walked like a man, or so I heard when prying a childhood car into the hushed talk of the straight Maine clan. One died a pinafore child, she stays her five years forever. And here is one that wrote- I sort his odd books and wonder his once alive words and scratch out my short marginal notes and finger my accounts. back from that great-grandfather I have come to tidy a country graveyard for his sake, to chat with the custodian under a yearly sun and touch a ghost sound where it lies awake. I like best to think of that Bunyan man slapping his thighs and trading the yankee sale for one dozen grand pianos. it fit his plan of culture to do it big. On this same scale he built seven arking houses and they still stand. One, five stories up, straight up like a square box, still dominates its coastal edge of land. It is rented cheap in the summer musted air to sneaker-footed families who pad through its rooms and sometimes finger the yellow keys of an old piano that wheezes bells of mildew. Like a shoe factory amid the spruce trees it squats; flat roof and rows of windows spying through the mist. Where those eight children danced their starfished summers, the thirty-six pines sighing, that bearded man walked giant steps and chanced his gifts in numbers. Back from that great-grandfather I have come to puzzle a bending gravestone for his sake, to question this diminishing and feed a minimum of children their careful slice of suburban cake.

When the flicker of London's sun falls faint on the club-room's green and gold, The sons of Adam sit them down and scratch with their pens in the mold— They scratch with their pens in the mold of their graves, and the ink and the anguish start When the Devil mutters behind the leaves: "It's pretty, but is it art?

Publishing is a business based on fiction—and not only the fiction that is packaged between book covers or sold as digital downloads. In order to convince harried, distracted people to set aside hours or even days to read hundreds of pages of non-animated words, we in the publishing business must manufacture an aura of success around a book, a glowing sheen that purrs I am worth your time. This aura is conveyed through breathless jacket copy, seductive cover imagery, and blurbs dripping with praise so thick the words seem painted on with honey. This fiction of success is stoked by the fiction of buzz and sustained by the fiction of social media.

Mirroring is a standard technique in sales to get exactly this effect. Here, the salesperson tries to copy the gestures, language, and facial expressions of his prospective client. If the buyer speaks very slowly and quietly, often scratching his head, it makes sense for the seller to speak slowly and quietly, and to scratch his head now and then, too.

though I loathe debt, I indeed would choose it over starving. It takes a toll but buys a chance. What

If you want to be famous, don’t be a writer.

Today, I own approximately three thousand books. I have gone into debt buying books and made poor financial choices, again and again, for the love of books—buying

The light shifts around the dais to the scratching of the chalk on the page, each line careful, considered, the result of a singular communion between the eye and the hand.

The work wasn’t just falling into my lap, it was avalanching all around me. But who was I to complain? You’d better clean your plate—starving children in Brooklyn would kill for that review!

Whatever you want," he said. "Will you please come here now?" I slipped a piece of protective tissue over my drawing and flipped the book closed. A piece of blue scratch paper slid out, the line I'd copied from Edward;s poetry book. "Hey. Translate for me, Monsieur Bainbridge." I set the sketchbook on my stool and joined him on the chaise. He tugged me onto his lap and read over his head. "'Qu'ieu sui avinen, leu lo sai.' 'That I am handsome, I know." "Verry funny." "Very true." He grinned. "The translation. That's what it says. Old-fashionedly." I thought of Edward's notation on the page, the reminder to read the poem to Diana in bed, and rolled my eyes. You're so vain.I bet you think this song is about you..."Boy and their egos." Alex cupped my face in his hands. "Que tu est belle, tu le sais." "Oh,I am not-" "Shh," he shushed me, and leaned in. The first bell came way too soon. I reluctantly loosened my grip on his shirt and ran my hands over my hair. He prompty thrust both hands in and messed it up again. "Stop," I scolded, but without much force. "I have physics," he told me. "We're studying weak interaction." I sandwiched his open hand between mine. "You know absolutely nothing about that." "Don't be so quick to accept the obvious," he mock-scolded me. "Weak interaction can actually change the flavor of quarks." The flavor of quirks, I thought, and vaguely remembered something about being charmed. I'd sat through a term of introductory physics before switching to basic biology. I'd forgotten most of that as soon as I'd been tested on it,too. "I gotta go." Alex pushed me to my feet and followed. "Last person to get to class always gets the first question, and I didn't do the reading." "Go," I told him. "I have history. By definition, we get to history late." "Ha-ha. I'll talk to you later." He kissed me again, then walked out, closing the door quietly behind him.

I have it so good. So absurdly, improbably good. I didn't do anything to deserve it, but I have it. I'm healthy. I've never gone hungry. And yes, to answer your question, I'm- I'm loved. I lived in a beautiful place, did meaningful work. The world we made out there, Mosscap, it's- it's nothing like what your originals left. It's a good world, a beautiful world. It's not perfect, but we've fixed it so much. We made a good place, struck a good balance. And yet every fucking day in the City, I woke up hollow, and... and just... tired, y'know? So, I did something else instead. I packed up everything, and I learned a brand-new thing from scratch, and gods, I worked hard for it. I worked really hard. I thought, if I can just do that, if I can do it well, I'll feel okay. And guess what? I do do it well. I'm good at what I do. I make people happy. I make people feel better. And yet I still wake up tired, like... like something's missing. I tried talking to friends, and family, and nobody got it, so I stopped bringing it up, and then I stopped talking to them altogether, because I couldn't explain, and I was tired of pretending like everything was fine. I went to doctors, to make sure I wasn't sick and that my head was okay. I read books and monastic texts and everything I could find. I threw myself into my work, I went to all the places that used to inspire me, I listened to music and looked at art, I exercised and had sex and got plenty of sleep and ate my vegetables, and still. Still. Something is missing. Something is off. So, how fucking spoiled am I, then? How fucking broken? What is wrong with me that I can have everything I could ever want and have ever asked for and still wake up in the morning feeling like every day is a slog?

If you're going to become a writer, you have to start introducing yourself to people. You have to know how to talk. People need to like you in this business, to remember you well." (Richard Rodriguez)

What I know is less important than what the world sees,” Kit said. “Allow me to indulge in a little allegory. Art. Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it—the thinking, the scratched-out words, the pages I burned in disgust. All you see, in the end, is what I want you to see. Such is politics.

So let me just say this. There are ways. You already know that because, in your life, there have been High Kindness periods and Low Kindness periods, and you know what inclined you toward the former and away from the latter. Education is good; immersing ourselves in a work of art: good; prayer is good; meditation’s good; a frank talk with a dear friend; establishing ourselves in some kind of spiritual tradition — recognizing that there have been countless really smart people before us who have asked these same questions and left behind answers for us. It would be strange and self-defeating to fail to seek out these wise voices from the past--as self-defeating as it would be to attempt to rediscover the principles of physics from scratch or invent a new method of brain surgery without having learned the ones that already exist.

One simple glance can convey to your recipient that you are . . . • Present • Interested • Paying attention • Being respectful • Listening • Confident • Engaged • Caring • Dedicated • Appreciative • Empathetic • Focused • Supportive • Trustworthy • Acknowledging • Excited This list barely scratches the surface; however, it opens the conversation about how vital your eye contact is for making positive first impressions.

The reality is, more and more and more, being a writer is running your own business. While I’ve had salaries, and I’ve been an employee, overall and ultimately and certainly increasingly so, being a writer is running a small business. Do

Successfully finding and “scratching” a niche requires asking and answering a question that very few creators seem to do: Who is this thing for? Instead, many creators want to be for everyone . . . and as a result end up being for no one.

Stop spending all day obsessing, cursing, perfecting your body like it's all you've got to offer the world. Your body is not your art, it's your paintbrush. Whether your paintbrush is a tall paintbrush or a thin paintbrush or a stocky paintbrush or a scratched up paintbrush is completely irrelevant. What is relevant is that you have a paintbrush which can be used to transfer your insides onto the canvas of your life - where others can see it and be inspired and comforted by it.

She wasn’t rude, exactly. She simply participated in conversation at the absolute minimum and didn’t encourage anyone to speak to her more than necessary. She didn’t do any of the things women usually do, that I spend so much of my life doing: try to draw others out in conversation, smile receptively, laugh at jokes or even non-jokes just to show you are listening attentively. She didn’t draw attention to her silence or deliberately snub anyone; she simply wasn’t playing the game.

My father’s parents, my mother’s parents, everyone in that generation of Jews knew that almost anything of worth could be taken from you—your home, your jewelry, your possessions, everything you owned—but no one could ever steal an education. My

Like Bretonne, Sue stood on the side of the poorest, despised art that allowed itself to be exploited by the ruling classes, and believed that poems ought to be scratched into walls and bridge vaults, able to be read by vagabonds, surrendered to the elements.

I realize you can write a blog and eventually turn it into a business, but I don’t see that as a good alternative to a job with the rigor of an editor and the ability to understand the audience as a readership that will respond and have expectations. Finally,

Love is an art, Berk. Just like painting or music. Some painters draw mere lines, scratches on the canvas and call them art; some paint stars studded skies like van Gogh; or Chopin’s music conquers the hearts of millions while the execrable disco music blaring out of the open windows of a car have also their audience. Some describe love in high-flown flowery language and you identify yourself with the hero and the heroine and feel yourself in the seventh heaven while some give such a lamentable picture of it that you almost curse it!

Eyes were of particular interest. How and when did pupils shift and dart? When did eyes narrow or blink? The giveaway laugh and wipe of forehead. Hands wring, cling, scratch, and readjust. Legs shuffle. A hand touches the pocket with notes taken from his lawyers on what to avoid at all costs….

Older, established writers always tell younger writers about the compromises they must make to succeed. You must be willing to be poor, they say. You must make writing your life. You must piece money together in any way that allows room for writing. It doesn’t matter what those jobs are so long as they don’t sap your creative energy. Wait tables. Walk dogs. Babysit. Make lattes. Figure model. Donate your eggs. Build houses. Bake bread. Freelance at writing. Freelance at anything. I was no longer in a position to naively agree to the sacrifices a freelance-everything lifestyle required.

Wouldn’t we all love that simple summing up? Do it well and put it out there and doors will open, eventually some fairy editor will descend, recognize something, lead you on exactly the path you’ve been wanting to travel down since you were a child writing stories about giants and talking chipmunks. Sometimes

Define “serious novel.” Read the first five pages. Count clichés. If you find one, the buzzer goes off: It’s not a serious novel. A serious novelist notices clichés and eliminates them. The serious novelist doesn’t write “quiet as a mouse” or paint the world in clichéd moral terms. You could almost just substitute the adjective “cliché-free” for “serious.” I

Humankind’s perpetual affinity for telling stories that depict the weal of life shapes and reflects human consciousness. Stories are the most ancient form of art. All societies, from the tribes scratching the earliest cave drawings, employed the art of storytelling. We hunger to hear other people’s stories and to tell our own stories to an appreciative audience.

Despite having apparently conquered his most debilitating social problems, to this day, Daniel says he still can’t shave himself, or drive a car. The sound of the toothbrush scratching his teeth drives him mad. He says he avoids public places, and is obsessive about small things. For breakfast, he measures out exactly forty-five grams of porridge on an electric scale.

Even as our world is being daily transformed by breathtaking innovations in science and technology, many people continue to imagine that math and science are mostly a matter of memorizing formulas to get “the right answer.” Even engineering, which is in fact the process of creating something from scratch or putting things together in novel and non-self-evident ways, is perplexingly viewed as a mechanical or rote subject. This viewpoint, frankly, could only be held by people who never truly learned math or science, who are stubbornly installed on one side of the so-called Two Culture divide. The truth is that anything significant that happens in math, science, or engineering is the result of heightened intuition and creativity. This is art by another name, and it’s something that tests are not very good at identifying or measuring. The skills and knowledge that tests can measure are merely warm-up exercises.

Girls who chase boys, who twirl their hair and walk through clouds of chain-store perfume, learning their allure. Girls who like books, who revel in their solitude, and lonely girls who don't; girls who eat, and girls who don't. Girls with piercings, tattoos, scars. Angry girls, who bare their teeth and scratch at their arms. Unironic boy-band, pink-clad girls, who scream and wail and live in every breath. Girls who read Vogue and spend their Saturdays with jealous hands on clothes their allowances won't afford. Girls who long to be mothers, and their own mothers who long for their youth. Art girls. Science girls. Girls who'll make it out alive. Girls who won't. And then, there are invisible girls: the ones nobody thinks to be afraid of. The girls who hide in plain sight, flirting and giggling; girls for whom sugar and spice is a mask. Girls who spark matches and spill battery acid on skin. Girls for whom rules do not apply.

Art, I understood now, was so much more than the sum of its brush strokes, curved clay appendages, or intricate stitching. There were stories woven, kneaded, and scratches into each piece. Blood, sweat, and tears intermixing with charcoal, textile, and canvas. Hopes, dreams, anger, fear, heartbreak, redemption, romance, and the thrilling sensation of falling in love all resided in an artist's word, the admirer of such pieces never knowing what emotions and story had shaped it.

He was beautiful. Whatever else he was, Sage was by far the most magnetic man I had ever seen. I had felt it in my dreams, and it was even more true in real life. I welcomed the chance to study him without his knowledge. He glanced up, and I quickly closed my eyes, feigning sleep. Had he seen me? The scratching stopped. He was looking at me, I knew it. I held my breath and willed my eyes not to pop open and see if he was staring. Finally the scratching started up again. I forced myself to slowly count to ten before I opened my eyelids the tiniest bit and peeked through my lashes. Good-he wasn’t looking at me. I opened my eyes a little wider. What was he doing? Moving only my eyes, I glanced down at the dirt floor in front of him… …and saw a picture of me, fast asleep. It was incredible. I could see his tools laid out beside the picture: rocks in several sizes and shapes, a couple of twigs…the most rudimentary materials, and yet what he was etching into the floor wouldn’t look out of place on an art gallery wall. It was beautiful…far more beautiful than I thought I actually looked in my sleep. Is that how he saw me? Sage lifted his head again, and I shut my eyes. I imagined him studying me, taking careful note of my features and filtering them through his own senses. My heartbeat quickened, and it took all my willpower to remain still. “You can keep pretending to be asleep if you’d like, but I don’t see a career for you as an actress,” he teased. My eyes sprang open. Sage’s head was again bent over his etching, but a grin played on his face as he worked. “You knew?” I asked, mortified. Sage put a finger to his lips, glancing toward Ben. “About two minutes before you woke up, I knew,” he whispered. “Your breathing hanged.” He bent back over the drawing, then impishly asked, “Pleasant dreams?” My heart stopped, and I felt myself blush bright crimson as I remembered our encounter in the bottom of the rowboat. I sent a quick prayer to whoever or whatever might be listening that I hadn’t re-enacted any of it in my sleep, then said as nonchalantly as possible, “I don’t know, I can’t remember what I dreamed about. Why?” He swapped out the rock in his hand for one with a thinner edge and worked for another moment. “No reason…just heard my name.” I hoped the dim moonlight shadowed the worst of my blush. “Your name,” I reiterated. “That’s…interesting. They say dreams sort out things that happen when we’re awake.” “Hmm. Did you sort anything out?” he asked. “Like I said, I can’t remember.” I knew he didn’t believe me. Time to change the subject. I nodded to the etching. “Can I come look?

I actually don’t consider Steal Like an Artist and Show Your Work! to be art. I think there’s art in them, and I think they’re artful, but they are primarily supposed to do something for other people. When I do those books, I know it’s a product, I know it’s going to be shelved in a certain part of the bookstore. So what I try to do is inject it with as much artfulness and as much of myself and as much honesty as I can. But it never leaves me, the fact that I’m making something that’s going to have a barcode on the back of it. So,

Jamie came back to the apartment one night to find her spreading a viscous fluid onto a canvas. It was threaded wtih blood. "Good God," he said. "What the hell is that?" Pia didn't bother to look up but continued to knead the clear slime across the canvas. "It's my new piece." "But what is it?" He kept pointing. He'd never seen something so disgusting in his life. And her hands were completely in it. "It's Jodie's placenta. She gave it to me. I'm going to tack it up and let it dry on this canvas. Then I'm gonna glue-gun pictures of dead fetuses onto Lucite and make them the centerpeice." "Uh huh." She raised her sticky hands to him. "It's about women, you know? The way that the world opresses them, all right? And it's about babies, and . . . I don't know . . . I just got the placenta today." "Wow, that's wow . . . that's . . ." No words for this. He scratched his chin as she spread her hands in a concentric motion across the canvas. "So, do you really think anyone's gonna want to put that up on their wall when it's done?" he asked. She scowled, displeased.

A lonely shivering afterward awaits your last sentence, like the wind that blows on the last man standing in a war, heaving on a battlefield no one will remember. Creation isn’t hard. Sleeping in two places at once is hard. Once you create, someone else holds you—on their desk. In the backseat. On their phones. Between their palms. Behold eternal agitation. Writers embark on a revolutionary idea only to be congratulated by katydids. Hearts spill on 8.5x11’s, scratching away their disguise, and then return to lunchtime feeling less than an inch themselves. How do you expect to survive?

Management gurus push employees in large companies to be bolder and more entrepreneurial. The reality is: employees tend to be risk-averse. From their perspective, this aversion makes perfect sense: why risk something that brings them, at best, a nice bonus, and at worst, a pink slip? The downside is larger than the upside. In almost all companies and situations, safeguarding your career trumps any potential reward. So, if you’ve been scratching your head about the lack of risk-taking among your employees, you now know why. (However, if employees do take big risks, it is often when they can hide behind group decisions.

This is a miracle of coevolution—the bacteria that coexist with us in our bodies enable us to exist. Microbiologist Michael Wilson notes that “each exposed surface of a human being is colonized by microbes exquisitely adapted to that particular environment.”21 Yet the dynamics of these microbial populations, and how they interact with our bodies, are still largely unknown. A 2008 comparative genomics analysis of lactic acid bacteria acknowledges that research is “just now beginning to scratch the surface of the complex relationship between humans and their microbiota.”22 Bacteria are such effective coevolutionary partners because they are highly adaptable and mutable. “Bacteria continually monitor their external and internal environments and compute functional outputs based on information provided by their sensory apparatus,” explains bacterial geneticist James Shapiro, who reports “multiple widespread bacterial systems for mobilizing and engineering DNA molecules.”23 In contrast with our eukaryotic cells, with fixed genetic material, prokaryotic bacteria have free-floating genes, which they frequently exchange. For this reason, some microbiologists consider it inappropriate to view bacteria as distinct species. “There are no species in prokaryotes,” state Sorin Sonea and Léo G. Mathieu.24 “Bacteria are much more of a continuum,” explains Lynn Margulis. “They just pick up genes, they throw away genes, and they are very flexible about that.”25 Mathieu and Sonea describe a bacterial “genetic free market,” in which “each bacterium can be compared to a two-way broadcasting station, using genes as information molecules.” Genes “are carried by a bacterium only when needed . . . as a human may carry sophisticated tools.”26

This is the part of the book where the author usually sums it all up in a conclusion chapter and announces, “I did it!” I suppose I could have titled it “The Finale,” but that’s just not me. I don’t think you ever reach a point in life (or in writing!) where you get to say that. It ain’t over till it’s over. I want to be an eternal student, always pushing myself to learn more, fear less, fight harder. What lies in the future? Truthfully, I don’t know. For some people, that’s a scary thought. They like their life mapped out and scheduled down to the second. Not me. Not anymore. I take comfort in knowing not everything is definite. There’s where you find the excitement, in the unknown, uncharted, spaces. If I take the lead in my life, I expect that things will keep changing, progressing, moving. That’s the joy for me. Where will I go next? What doors will open? What doors will close? All I can tell you is that I will be performing and connecting with people--be it through dance, movies, music, or speaking. I want to inspire and create. I love the phrase “I’m created to create.” That’s what I feel like, and that’s what makes me the happiest. I’m building a house right now--my own extreme home makeover. I love the process of tearing something down and rebuilding it, creating something from nothing and bringing my artistic vision to it. I will always be someone who likes getting his hands dirty. But the blueprint of my life has completely changed from the time I was a little boy dreaming about fame. It’s broadened and widened. I want variety in my life; I like my days filled with new and different things. I love exploring the world, meeting new people, learning new crafts and art. It’s why you might often read what I’m up to and scratch your head: “I didn’t know Derek did that.” I probably didn’t before, but I do now.

A Book of Glass On the table, a book of glass. In the book only a few pages with no words But scratched in a diamond-point pencil to pieces in diagonal Spirals, light triangles; and a French curve fractures lines to elisions. The last pages are simplest. They can be read backwards and thoroughly. Each page bends a bit like ludicrous plastic. He who wrote it was very ambitious, fed up, and finished. He had been teaching the insides and outsides of things To children, teaching the art of Rembrandt to them. His two wives were beautiful and Death begins As a beggar beside them. What is an abstract persona? A painter visits but he prefers to look at perfume in vials. And I see a book in glass—the words go off In wild loops without words. I should Wake and render them! In bed, Mother says each child Will receive the book of etchings, but the book will be incomplete, after all. But I will make the book of glass.

It has struck me as one of the most touching aspects of the part played in life by these idle, painstaking women that they devote all their generosity, all their talent, their transferable dreams of sentimental beauty, and their gold, which counts for little, to the fashioning of a fine and precious setting for the rubbed and scratched and ill-polished lives of men. And just as this one filled the smoking-room where my uncle was entertaining her in his alpaca coat, with her charming person, her dress of pink silk, her pearls, and the refinement suggested by intimacy with a Grand Duke, so, in the same way, she had taken some casual remark by my father, had worked it up delicately, given it a 'turn', a precious title, set it in the gem of a glance from her own eyes, a gem of the first water, blended of humility and gratitude; and so had given it back transformed into a jewel, a work of art, into something altogether charming.

THE SK8 MAKER VS. GLOBAL INDUSTRIALIZATION This new era of global industrialization is where my personal analogy with the history of the skateboard maker diverges. It’s no longer cost-effective to run a small skateboard company in the U.S., and the handful of startups that pull it off are few and far between. The mega manufacturers who can churn out millions of decks at low cost and record speed each year in Chinese factories employ proprietary equipment and techniques that you and I can barely imagine. Drills that can cut all eight truck holes in a stack of skateboard decks in a single pull. CNC machinery to create CAD-perfect molds used by giant two-sided hydraulic presses that can press dozens of boards in a few hours. Computer-operated cutting bits that can stamp out a deck to within 1⁄64 in. of its specified shape. And industrial grade machines that apply multicolored heat-transfer graphics in minutes. In a way, this factory automation has propelled skateboarding to become a multinational, multi-billion dollar industry. The best skateboarders require this level of precision in each deck. Otherwise, they could end up on their tails after a failed trick. Or much worse. As the commercial deck relies more and more on a process that is out of reach for mere mortals, there is great value in the handmade and one of a kind. Making things from scratch is a dying art on the brink of extinction. It was pushed to the edge when public schools dismissed woodworking classes and turned the school woodshop into a computer lab. And when you separate society from how things are made—even a skateboard—you lose touch with the labor and the materials and processes that contributed to its existence in the first place. It’s not long before you take for granted the value of an object. The result is a world where cheap labor produces cheap goods consumed by careless customers who don’t even value the things they own.

Miniver Cheevy, child of scorn, Grew lean while he assailed the seasons; He wept that he was ever born, And he had reasons. Miniver loved the days of old When swords were bright and steeds were prancing; The vision of a warrior bold Would set him dancing. Miniver sighed for what was not, And dreamed, and rested from his labors; He dreamed of Thebes and Camelot, And Priam’s neighbors. Miniver mourned the ripe renown That made so many a name so fragrant; He mourned Romance, now on the town, And Art, a vagrant. Miniver loved the Medici, Albeit he had never seen one; He would have sinned incessantly Could he have been one. Miniver cursed the commonplace And eyed a khaki suit with loathing; He missed the mediæval grace Of iron clothing. Miniver scorned the gold he sought, But sore annoyed was he without it; Miniver thought, and thought, and thought, And thought about it. Miniver Cheevy, born too late, Scratched his head and kept on thinking; Miniver coughed, and called it fate, And kept on drinking.

Nesta is a wolf who has been locked in a cage her whole life. 'I know,' Cassian said. She was a wolf who had never learned how to be a wolf, thanks to that cage humans called propriety and society. And like any maltreated animal, she bit anyone who came near. Good thing he liked being bitten. Good thing he savoured the bruises and scratches she left on his body every night, and that her unleashing when he was buried in her made him want to answer with his own. Elain leaned forward. 'You only think you know- you haven't seen her on the dance floor. That's when Nesta truly lets the wolf roam free. When there's music.' 'Really?' Nesta had told him once, when he'd dragged her out of a particular seedy tavern, that she'd been there for the music. He'd ignored her, thinking it an excuse. 'Yes,' Elain said. 'She was trained in dance from a very young age. She loves it, and music. Not in the way I enjoy a waltz or a gavotte, but in the way that performers make an art of it. Nesta could bring an entire ballroom to a halt when she danced with someone.

Man began to think. There were times when he was fed, when his lusts and his fears were all appeased, when the sun shone upon the squatting-place and dim stirrings of speculation lit his eyes. He scratched upon a bone and found resemblance and pursued it and began pictorial art, moulded the soft, warm clay of the river brink between his fingers, and found a pleasure in its patternings and repetitions, shaped it into the form of vessels, and found that it would hold water. He watched the streaming river, and wondered from what bountiful breast this incessant water came; he blinked at the sun and dreamt that perhaps he might snare it and spear it as it went down to its resting-place amidst the distant hills. Then he was roused to convey to his brother that once indeed he had done so--at least that some one had done so--he mixed that perhaps with another dream almost as daring, that one day a mammoth had been beset; and therewith began fiction--pointing a way to achievement--and the august prophetic procession of tales. For scores and hundreds of centuries,

The idea that modern civilization started practically from scratch, from a single source of ape-men several millennia ago, has distorted, or caused to be ignored, information that has reached us just as much by tradition as through archaeological finds. We are so fascinated by the technological advances of the last centuries of modern civilization that we simply forget the periods of obscurantism that preceded them and the differences in the level of development of the various peoples of the world. We tend to consider "progress" a continuous and general phenomenon stretching from the apes to Einstein. Yet the history of man is not one of regular development. It is characterized by a succession of developments and regressions related to astrological and climatic cycles. Barbaric races, still in their infancy, destroy civilizations that had been developed by older, more evolved populations, doing away with the sciences and arts, yet allowing some scraps of knowledge to survive which serve as the basis of the development of new cultures. On all continents we can find traces of outstanding cultures and advanced technologies belonging to bygone ages, followed by periods of barbarism and ignorance.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

I woke up hollow, and … and just … tired, y’know? So, I did something else instead. I packed up everything, and I learned a brand-new thing from scratch, and gods, I worked hard for it. I worked really hard. I thought, if I can just do that, if I can do it well, I’ll feel okay. And guess what? I do do it well. I’m good at what I do. I make people happy. I make people feel better. And yet I still wake up tired, like … like something’s missing. I tried talking to friends, and family, and nobody got it, so I stopped bringing it up, and then I just stopped talking to them altogether, because I couldn’t explain, and I was tired of pretending like everything was fine. I went to doctors, to make sure I wasn’t sick and that my head was okay. I read books and monastic texts and everything I could find. I threw myself into my work, I went to all the places that used to inspire me, I listened to music and looked at art, I exercised and had sex and got plenty of sleep and ate my vegetables, and still. Still. Something is missing. Something is off. So, how fucking spoiled am I, then? How fucking broken? What is wrong with me that I can have everything I could ever want and have ever asked for and still wake up in the morning feeling like every day is a slog?

Preparation - Poem by Malay Roy Choudhury Who claims I'm ruined? Because I'm without fangs and claws? Are they necessary? How do you forget the knife plunged in abdomen up to the hilt? Green cardamom leaves for the buck, art of hatred and anger and of war, gagged and tied Santhal women, pink of lungs shattered by a restless dagger? Pride of sword pulled back from heart? I don't have songs or music. Only shrieks, when mouth is opened wordless odour of the jungle; corner of kin & sin-sanyas; Didn't pray for a tongue to take back the groans power to gnash and bear it. Fearless gunpowder bleats: stupidity is the sole faith-maimed generosity- I leap on the gambling table, knife in my teeth Encircle me rush in from tea and coffee plateaux in your gumboots of pleasant wages The way Jarasandha's genital is bisected and diamond glow Skill of beating up is the only wisdom in misery I play the burgler's stick like a flute brittle affection of thev wax-skin apple She-ants undress their wings before copulating I thump my thighs with alternate shrieks: VACATE THE UNIVERSE get out you omnicompetent conchshell in scratching monkeyhand lotus and mace and discuss-blade Let there be salt-rebellion of your own saline sweat along the gunpowder let the flint run towards explosion Marketeers of words daubed in darkness in the midnight filled with young dog's grief in the sicknoon of a grasshopper sunk in insecticide I reappear to exhibit the charm of the stiletto. (Translation of Bengali poem 'Prostuti')

After Arguing Against The Contention That Art Must Come From Discontent Whispering to each handhold, “I'll be back,” I go up the cliff in the dark. One place I loosen a rock and listen a long time till it hits, faint in the gulf, but the rush of the torrent almost drowns it out, and the wind— I almost forgot the wind: it tears at your side or it waits and then buffets; you sag outward. . . . I remember they said it would be hard. I scramble by luck into a little pocket out of the wind and begin to beat on the stones with my scratched numb hands, rocking back and forth in silent laughter there in the dark— “Made it again!” Oh how I love this climb! —the whispering to stones, the drag, the weight as your muscles crack and ease on, working right. They are back there, discontent, waiting to be driven forth. I pound on the earth, riding the earth past the stars: “Made it again! Made it again!

The wedge of cake, sheathed in its tight plastic wrap, beckoned. I sat down and gave thanks for women like Beth Anne, who practiced the endangered art of baking (one day "baked from scratch" may sound as archaic and faraway as "alchemy"). I ate the cream cheese frosting first, and then as I tucked into the garnet sponge of the cake, DWH asked me whether Baby Harper had sent me the photographs. I concentrated on the moist crumb of the cake. I thought about how its flavors- butter, cocoa, and vanilla- had no relationship to its flamboyant color. Red was a decoy, a red herring, and with each bite there was a disconnect between expectation and reality. That was the main source of the cake's charm.

In the trembling grey of a spring dawn, when the birds were whispering in mysterious cadence among the trees, have you not felt that they were talking to their mates about the flowers? Surely with mankind the appreciation of flowers must have been coeval with the poetry of love. Where better than in a flower, sweet in its unconsciousness, fragrant because of its silence, can we image the unfolding of a virgin soul? The primeval man in offering the first garland to his maiden thereby transcended the brute. He became human in thus rising above the crude necessities of nature. He entered the realm of art when he perceived the subtle use of the useless. In joy or sadness, flowers are our constant friends. We eat, drink, sing, dance, and flirt with them. We wed and christen with flowers. We dare not die without them. We have worshipped with the lily, we have meditated with the lotus, we have charged in battle array with the rose and the chrysanthemum. We have even attempted to speak in the language of flowers. How could we live without them? It frightens one to conceive of a world bereft of their presence. What solace do they not bring to the bedside of the sick, what a light of bliss to the darkness of weary spirits? Their serene tenderness restores to us our waning confidence in the universe even as the intent gaze of a beautiful child recalls our lost hopes. When we are laid low in the dust it is they who linger in sorrow over our graves. Sad as it is, we cannot conceal the fact that in spite of our companionship with flowers we have not risen very far above the brute. Scratch the sheepskin and the wolf within us will soon show his teeth.

Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it - the thinking, the scratched out words, the pages I burned in disgust. All you see, in the end, is what I want you to see. Such is politics

Art is not one great act of creation, but many small ones. When you read one of my poems, you fail to see the weeks of careful work it took me to build it—the thinking, the scratched-out words, the pages I burned in disgust. All you see, in the end, is what I want you to see.

How do you make anyone actually want to do any of this stuff? How do you flip the internal switch that changes us all back into the Natural Born Runners we once were? Not just in history, but in our own lifetimes. Remember? Back when you were a kid and you had to be yelled at to slow down? Every game you played, you played at top speed, sprinting like crazy as you kicked cans, freed all, and attacked jungle outposts in your neighbors’ backyards. Half the fun of doing anything was doing it at record pace, making it probably the last time in your life you’d ever be hassled for going too fast. That was the real secret of the Tarahumara: they’d never forgotten what it felt like to love running. They remembered that running was mankind’s first fine art, our original act of inspired creation. Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle—behold, the Running Man.

adventure. Or maybe it’s just because I’m dumb. “No. I don’t know anything about Linus that might help you.” Colton folded his hands and exhaled slowly. “That’s a shame, because you seemed like a kid with common sense.” He stood from the desk and cracked his knuckles. I didn’t know what he was planning on doing, and luckily I didn’t have to find out. The speaker by the door crackled, and a girl’s voice spoke loud and clear. “Colton, to the front office please. Your bike is parked in a tow away zone. Colton, to the front office immediately.” “Blazes!” Colton shouted as he hopped off his seat. “My bike is in trouble?” As Colton started walking to the front door of the art room, I managed to sneak a peek at the page he had written notes on. The manila folder was open on the desk next to me. The paper on top was filled with chicken scratched words and doodles that looked like blueprints. Paper clipped to that sheet was my school picture. What the heck was my picture doing in his folder? Stopping at the door, Colton flipped around and headed back to the desk. Slapping the folder shut, he slid it along until it fell into his hand. “Don’t want to leave this thing sitting out, do we?” I didn’t answer, watching as he left the room. Before he disappeared out of view, I saw him say something to the

Tharion finished Sofie’s inbox, checked the junk folder, and then finally the trash. It was mostly empty. He clicked open her sent folder, and groaned at the tally. But he began reading again. Click after click after click. His phone chimed with an alert: thirty minutes until he needed to get into the water. He could reach the air lock in five minutes, if he walked fast. He could get through another few emails before then. Click, click, click. Tharion’s phone chimed again. Ten minutes. But he’d halted on an email dated three years ago. It was so simple, so nonsensical that it stood out. Subject: Re: Dusk’s Truth The subject line was weird. But the body of her email was even weirder. Working on gaining access. Will take time. That was it. Tharion scanned downward, toward the original message that Sofie had replied to. It had been sent two weeks before her reply. From: BansheeFan56 Subject: Dusk’s Truth Have you gotten inside yet? I want to know the full story. Tharion scratched his head, opened another window, and searched for Dusk’s Truth. Nothing. No record of a movie or book or TV show. He did a search on the email system for the sender’s name: BansheeFan56. Another half-deleted chain. This one originating from BansheeFan56. Subject: Project Thurr Could be useful to you. Read it. Sofie had replied: Just did. I think it’s a long shot. And the Six will kill me for it. He had a good feeling he knew who “the Six” referred to: the Asteri. But when Tharion searched online for Project Thurr, he found nothing. Only news reports on archaeological digs or art gallery exhibits featuring the ancient demigod. Interesting. There was one other email—in the drafts folder. BansheeFan56 had written: When you find him, lie low in the place I told you about—where the weary souls find relief from their suffering in Lunathion. It’s secure. A rendezvous spot? Tharion scanned what Sofie had started to reply, but never sent. Thank you. I’ll try to pass along the info to my She’d never finished it. There were any number of ways that sentence could have ended. But Sofie must have needed a place where no one would think to look for her and her brother. If Sofie Renast had indeed survived the Hind, she might well have come here, to this very city, with the promise of a safe place to hide. But this stuff about Project Thurr and Dusk’s Truth … He tucked those tidbits away for later. Tharion opened a search field within Declan’s program and typed in the sender’s address. He started as the result came in. Danika Fendyr.

Pablo Picasso entered the world howling. Seconds after he was born, one of the hospital physicians, his uncle Don Salvador, leaned down and blew a huge cloud of cigar smoke in the newborn’s face. The baby grimaced and bellowed in protest—and that’s how everyone knew he was healthy and alive. At that time, doctors were allowed to smoke in delivery rooms, but this little infant would have none of it. Even at birth, he refused to accept things as they had always been done. The baby was named Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Martyr Patricio Clito Ruíz y Picasso—whew! He was known to his friends as Pablito, a nickname meaning “little Pablo,” and he learned to draw before he could walk. His first word was piz, short for lápiz, the Spanish word for pencil. It was an instrument that would soon become his most prized possession. Pablo inherited his love of art from his father, Don José Ruiz y Blasco, a talented painter. Don José’s favorite subjects were the pigeons that flocked in the plaza outside the Picassos’ home in Málaga, a town on the southern coast of Spain. Sometimes he would allow Pablo to finish paintings for him. One of Pablo’s earliest solo artworks was a portrait of his little sister, which he painted with egg yolk. But painting was not yet his specialty. Drawing was. Pablo mostly liked to draw spirals. When people asked him why, he explained that they reminded him of churros, the fried-dough pastries sold at every streetcorner stand in Málaga. While other kids played underneath trees in the Plaza de la Merced, Pablo stood by himself scratching circles in the dirt with a stick.

At school, Pablo found it hard to concentrate. Rather than completing classwork, he filled the margins of his notebook with pencil sketches of animals, birds, and people. His teacher grew exasperated with his lack of attention. She wrote a note to his mother saying: “Pablo should stop drawing in class and pay attention to his lessons.” It was clear that Pablo hated rules, and he took every opportunity to disobey them. When adults told him what to do, he did the opposite. He once got in trouble for coloring the sky a bright red instead of the “normal” blue. Pablo was often banished to the “calaboose,” a bare cell with white walls and a bench, which served as a holding pen for unruly students. “I liked it there, because I took along a sketch pad and drew incessantly,” Pablo later said. “I could have stayed there forever drawing without stopping.” He even began misbehaving on purpose so that he would be sentenced to detention and sent to the calaboose. The one person who understood that Pablo wasn’t acting out for no reason was his father. One day when Pablo’s mother caught him drawing on the wall with a nail, Don José took him to the beach to blow off steam. As Don José stretched out to take a nap, Pablo sat beside him and drew a dolphin in the wet sand. When Don José awoke, he was astonished by the beauty of his son’s drawing. “Could it be Pablo who drew this?” he wondered. That afternoon, Don José took a closer look at the image Pablo had drawn on their living room wall. What at first looked like random scratches soon took shape. Don José recognized a reindeer and a bison running away from a group of men on horseback who were armed with bows and arrows. At that moment, Don José knew what to do to get Pablo to stop misbehaving. He decided to take him into his studio and teach his son how to paint. From that day onward, Pablo and his father were inseparable art partners. In search of new subjects to portray, they began going to the bullfights. Pablo was mesmerized by the sight of the brave picadors as they charged ferocious bulls. He saw El Lagartijo—“The Lizard”—one of the most famous bullfighters in Spain, and he met Cara Ancha,

Human communication, it can be argued, defines us. Without speech, storytelling, writing, music, and performance art we are little more than herd animals scratching for a living.

New technology tends to come from new ventures—startups. From the Founding Fathers in politics to the Royal Society in science to Fairchild Semiconductor’s “traitorous eight” in business, small groups of people bound together by a sense of mission have changed the world for the better. The easiest explanation for this is negative: it’s hard to develop new things in big organizations, and it’s even harder to do it by yourself. Bureaucratic hierarchies move slowly, and entrenched interests shy away from risk. In the most dysfunctional organizations, signaling that work is being done becomes a better strategy for career advancement than actually doing work (if this describes your company, you should quit now). At the other extreme, a lone genius might create a classic work of art or literature, but he could never create an entire industry. Startups operate on the principle that you need to work with other people to get stuff done, but you also need to stay small enough so that you actually can. Positively defined, a startup is the largest group of people you can convince of a plan to build a different future. A new company’s most important strength is new thinking: even more important than nimbleness, small size affords space to think. This book is about the questions you must ask and answer to succeed in the business of doing new things: what follows is not a manual or a record of knowledge but an exercise in thinking. Because that is what a startup has to do: question received ideas and rethink business from scratch.

Mentalizing also helps us simultaneously sympathize with a person while also detaching to make judgments about them. I may feel genuinely bad that you are miserable because somebody scratched your Mercedes. I may also think you are reacting childishly because too much of your identity is wrapped up in your car.

When your sparring partner scratches or head-butts you, you don’t then make a show of it, or protest, or view him with suspicion or as plotting against you. And yet you keep an eye on him, not as an enemy or with suspicion, but with a healthy avoidance. You should act this way with all things in life. We should give a pass to many things with our fellow trainees. For, as I’ve said, it’s possible to avoid without suspicion or hate.” —MARCUS AURELIUS, MEDITATIONS, 6.20

Imagine that, surrounded by your loved ones, you and your disease-riddled body have finally just breathed your last. No, scratch that. It’s really much more vile than that, because, even though you still had much life left in you, you’ve just been put to death, and not just in the most painful of ways, but, treacherously, by those whom you thought truly loved you, or, if not that, then, at the least, valued and respected you! Fortunately, or unfortunately, you disappear into the mists of time, and that means neither you nor your beloved face will ever be seen again. That one of those who had so cruelly abused you might ever try to track you down, or even be able to, is not possible, right? No, of course not, because, as we all know, birth is the beginning and death is the end of all that ever accidently took place in between. Whether birth is the beginning and death actually the end, it certainly is how the badly disfigured, yet somehow still disturbingly alluring, Virginia Finsterwald thinks. So, when a dying lady shows up at her door - with a duplicate version of her own previously perfect face - it would be impossible for the former spy, now private detective, to take this event as anything more than mere Happenstance. Meanwhile, just a couple of blocks up the way, Virginia’s principal patron is confronted by a woman who, inexplicably, has the exact face of his aunt, only, she had been lynched when he was a child! As a highly educated man who believes only in materials and reason, the only way Alistair Alligood, the a multi-zillionaire collector of gender-dysphorick pubescent boys, can prevent being undone by this unsettling matter is by writing it off, and yet:------does he really believe that such an occurrance is mere Happenstance? Maybe so, but, what is not mere Happenstance are the church exorcists, psychicks, mesmerists, physicians, psychologists, and mediums who, when Alistair Alligood falls gravely ill, war with each other over whether he is bodily ill, suffering from past-life trauma, under a witch’s spell, and or is it that he has become demon possessed? What unravels behind the curtain of Alistair’s malady is a centuries’long tale of Poisonings, Duels, Rape, Revenge, Possession, the Black Arts, and Taboo Familial Doings, the seeds of which will miscegenize and explode in ’Beyond The Last Breath’.

If you want to become a writer from scratch and only write what you want to write without comprise or selling out, then it will probably be at least one hundred thousand times more difficult than you had previous imagined to make it. And the irony is, if you do finally make it your fondest memories will be of all those struggling years or decades when you were creating art before you were considered a writer.

Way before we were scratching pictures on caves or beating rhythms on hollow trees, we were perfecting the art of combining our breath and mind and muscles into fluid self-propulsion over wild terrain. And when our ancestors finally did make their first cave paintings, what were the first designs? A downward slash, lightning bolts through the bottom and middle—behold, the Running Man.

Like art, emotions are works in progress. It rarely serves us well to frame our first sketch. As we gain perspective, we revise what we feel. Sometimes we even start over from scratch.

I'm saying that every writer needs to conceive, develop, and maintain a literary relationship to her family, her country, her community, her peers. A writer ought to be thinking about this, yes, when he sends his work out to be published, but also when he's writing it, and when he's contemplating writing it. A literary work unconcerned with the desires of its audience is like a thoughtless gift, a crass experiment in social engineering, like the statue of Jesus your pious aunt bought for your atheist front garden and expects a thank-you note for." (J Robert Lennon)

The truth is, my dream has changed; it has become clearer to me, and also more challenging. Coming to terms with this change goes hand in hand with shifting my perspective on success, art, and money. There has never been a simple relationship between these things, but now I am better positioned to negotiate a balance among them. I

I think my family thought I wasn’t ambitious, but actually I was hugely ambitious, because I wanted to make some kind of mark with my writing.