Script Reading Quotes

Excellent. I've been told I have a lovely, melodic reading voice." He flipped the book open to the front page, where the title was printed in ornate script. Across from it was a long dedication, the ink faded now and barely legible, though Clary could make out the signature: With hope at last, William Herondale.

I do wonder if she’s acting just like I am. How much of what people say is genuine and how much is politeness? Is anyone really living their life or are we all reading lines from a giant script written by other people?

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

When Roseanne read the first script of mine that got into her hands without being edited by someone else she said, 'How can you write a middle-aged woman this well?' I said, 'If you met my mom you wouldn't ask'.

To reread a book is to read a different book. The reader is different. The meaning is different.

What are you thinking? She smiled. I think you can figure it out. You can read the writing on the wall. And as she said it, there was writing on the wall. It appeared slowly, one word at a time. You're not the only one falling. It wrote itself out, in the same curling black script as the rest of the room. Lena's cheeks flushed a little, and she covered her face with her hands. "It's going to be really embarrassing if everything I think starts showing up on the walls." "You didn't mean to do that?" "No." You don't need to be embarrassed, L. I pulled her hands away. Because I feel the same way about you.

Oh, I brought you something." Her mom pulled a bag from her purse. "I know how you like T-shirts," she said. Kylie couldn't help but think, My mom went to England and all I got was a T-shirt, but she smiled and pulled it out of the bag and then chuckled when she read the script across the front: My mom went to England and all I got was this T-shirt. "Perfect," Kylie said.

I believe that this corporate machinery of scripted programs, comprehension worksheets (reproducibles, handouts, printables, whatever you want to call them), computer-based incentive packages, and test practice curriculum facilitates a solid bottom-line for the companies that sell them, and give schools proof they can point to that they are using every available resource to teach reading, but these efforts are doomed to fail a large number of students because they leave out the most important factor. When you take a forklift and shovel off the programs, underneath it all is a child reading a book.

Silence gradually spread its great, fragile butterfly wings across the ward. The sun had disappeared, replaced by grey and rain. This particular month of July was reading the script for March.

There was nothing hesitant about the kiss, nothing uncertain. It was as if they'd both read the script beforehand and had—all along—simply been waiting for the cue.

Lesson one,” Anatov said. “And this is for all of you. Learn how to learn. Read between the lines. Know what to take and what to discard.

You're guaranteed to be lucky several times in your life-it's what you do with it. Young writers spend all their time worrying, in a way that David Gerrold did not and I did not. How do they get to meet the right people? How do they get to the right parties? If only someone would read my script... Forget all that. All these things are easy and will happen. The way you get your script to the right people is that you put it in an envelope. It's fucking easy. The difficult bit is writing something that is so good people will take a punt on a brand new writer. That's it-you have to write an absolutely terrific script.

So often, I read scripts and am like, 'This would never happen in real life. It's not trying to be funny. It's trying to be serious.

Read from a distant star, the majuscule script of our earthly existence would perhaps lead to the conclusion that the earth was the distinctively ascetic planet, a nook of disgruntled, arrogant creatures filled with a profound disgust with themselves, at the earth, at all life, who inflict as much pain on themselves as they possibly can out of pleasure in inflicting pain which is probably their only pleasure.

I keep reading your looping, cursive script, until the words are indelible inside me: “I never knew real happiness until you.

If we could read the script of the future, we'd never turn the page.

There was, in fact, a street sign to that effect—the first I’d seen in all of Devil’s Acre. Louche Lane, it read in fancy handwritten script. Piracy discouraged. “Discouraged?” I said. “Then what’s murder? Frowned upon?” “I believe murder is ‘tolerated with reservations.’ ” “Is anything illegal here?” Addison asked. “Library late fines are stiff. Ten lashes a day, and that’s just for paperbacks.” “There’s a library?” “Two. Though one won’t lend because all the books are bound in human skin and quite valuable.

How much of what people say is genuine and how much is politeness? Is anyone really living their life or are we all reading lines from a giant script written by other people?

The symptoms of a writer who hasn’t found their way clear of the needs of Self yet are easy to spot. I should say the symptoms are easy for everyone else to spot, that is, and not so easy for the writer themself to see. You’ll see a writer who does not trust the characters to speak and move on their own, but has to puppeteer them; a writer who does not trust the reader to understand what’s written. One who must insert parentheticals in various forms to explain the work to the reader; flashbacks to explain; big black blocks of text on the page to explain; question-and-answer dialog between characters who aren’t in a courtroom; walk-and-talk characters with their mouths full of dialog of what the story is about; too many stage directions that make the script read like a novel…

In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defence of the new. The world is often unkind to new talent, new creations, the new needs friends... Not everyone can become a great artist, but a great artist can come from anywhere.

Read from a distant star the majuscule script of our earthly existence would perhaps tempt one to conclude that the earth is the ascetic planet par excellence, a nook of discontented, arrogant, and repulsive creatures who could not get rid of a deep displeasure with themselves, with the earth, with all life and who caused themselves as much pain as possible out of pleasure in causing pain:―probably their only pleasure.

Beauty is the only human aspect which cannot be captured on any canvas howsoever hard an artist tries. At the most, the undaunted artist can replicate the beauty on paper but what is a replica in comparison to the original! The humbling resemblance can only be respected, not truly adored. Beauty cannot be imprisoned in the lens of a camera. The images of beauty are a moment of its essence. Beauty cannot be displayed to evoke pleasure for all on a cinema screen. Those are just its imprints, mere illusions of its existence. Beauty cannot be described by words; it cannot be written or read about. There are no suitable words in all the languages of the world, ancient or modern to hold it between a paper and a pen or a script and an eye. Beauty can only be experienced from far, its delightful aroma can only be tasted through one’s eyes and its pleasurable sight can only be felt from the soul. Beauty can only be best described at its origin through a befuddling silence, the kind that leaves one almost on the verge of a pleasurable death, just because one chooses beauty over life. There is nothing in this world to hold something so pure, so divine except a loving heart. And it is the only manner through which love recognises love; the language of love has no alphabet, no words.

Shelves full of books are all around me. Opening the different volumes I take a look, and find the pages covered with writings in unknown scripts — tadpole traces, bird feet markings, twisted branches. And in my dream I am able to read them all, to make sense of everything despite its difficulty.

When it comes to sexuality, romantic love plays a large part in feminine sexual scripts. Research suggests that women make sense of sexual encounters in terms of the amount of intimacy experienced; love becomes a rationale for sex. If i am in love, women often reason, sex is okay. Men more easily accept sex for its own sake, with no emotional strings necessarily attached. In this way, sexual scripts for men have involved more of an instrumental (sex for its own sake) approach, whereas for women it tends to be more expressive (sex involving emotional attachments). There is evidence to suggest that women are moving in the direction of sex as an end in itself without the normative constraints of an emotional relationship. By and large, however, women are still more likely than men to engage in sex as an act of love. Many scholars suggest that romance is one of the key ways that sexism is maintained in society.

I couldn't believe that the conversations my family had or the friendly attitudes of the people I knew were genuine. I was certain there had to be a script somewhere – and once, when I was very young, I searched the house for it. I wanted to read the same words everyone else was saying. But there was no script. The only thing that ever felt real to me was death.

I would love to say that I wrote (Good Will Hunting). Here is the truth. In my obit it will say that I wrote it. People don't want to think those two cute guys wrote it. What happened was, they had the script. It was their script. They gave it to Rob [Reiner] to read, and there was a great deal of stuff in the script dealing with the F.B.I. trying to use Matt Damon for spy work because he was so brilliant in math. Rob said, "Get rid of it." They then sent them in to see me for a day - I met with them in New York - and all I said to them was, "Rob's right. Get rid of the F.B.I. stuff. Go with the family, go with Boston, go with all that wonderful stuff." And they did. I think people refuse to admit it because their careers have been so far from writing, and I think it's too bad. I'll tell you who wrote a marvelous script once, Sylvester Stallone. Rocky's a marvelous script. God, read it, it's wonderful. It's just got marvelous stuff. And then he stopped suddenly because it's easier being a movie star and making all that money than going in your pit and writing a script. But I did not write [Good Will Hunting], alas. I would not have written the "It's not your fault" scene. I'm going to assume that 148 percent of the people in this room have seen a therapist. I certainly have, for a long time. Hollywood always has this idea that it's this shrink with only one patient. I mean, that scene with Robin Williams gushing and Matt Damon and they're hugging, "It's not your fault, it's not your fault." I thought, Oh God, Freud is so agonized over this scene. But Hollywood tends to do that with therapists. (from 2003 WGA seminar)

Maybe stories choose how they are told and who tells them.

The whole world was on a script of loss and people only received their pages moments before they read their lines.

I never read the scripts at all carefully and never wanted to know what was going on, because i felt that being a benevolent alien, that's the way it should be

So who is cruel? You, cruel reader, you are.

Writers do not write what they want, they write what they can. When I was 21 I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for The Simpsons who’d briefly joined a religious cult and then discovered Foucault. Such is life. And now, when I finish a long day of CNN-related fear and loathing mixed with eyeballing my own resolutely white screen, I do not crawl into bed with 500-page comic novels about “multicultural” London. I read Carver. Julio Cortázar. Amis’s essays. Baldwin. Lorrie Moore. Capote. Saramago. Larkin. Wodehouse. Anything, anything at all, that doesn’t sound like me.

I'm about to as you a favor." And I'm about to tell you no." "It's not a make-out scene. Though I'd be willing to rehearse that." "Still, no." "Dig deep into that cold, callous heart of yours, Frankie." "It's Finley" "Dig deep and find some kindness." He held out his script. "I've a need for someone to read the part of Selena." "Selena the mutating vampire duchess? The woman who eats frogs, whose lower body is covered in scales because her mom had a fling with a merman?" "I knew you were a fan." Dumber movies ever.

Many Christians have been taught that the Bible is Truth downloaded from heaven, God’s rulebook, a heavenly instructional manual—follow the directions and out pops a true believer; deviate from the script and God will come crashing down on you with full force. If anyone challenges this view, the faithful are taught to “defend the Bible” against these anti-God attacks. Problem solved. That is, until you actually read the Bible. Then you see that this rulebook view of the Bible is like a knockoff Chanel handbag—fine as long as it’s kept at a distance, away from curious and probing eyes.

Thinking of emoji as gestures helps put things into perspective if we're tempted to start thinking, "If words were good enough for Shakespeare, why aren't they good enough for us?" We can pause and realize that plain words weren't actually good enough for Shakespeare. A lot of what Shakespeare wrote was plays, designed not to be read on a page, but to be performed by people. How many of us have struggled through reading Shakespeare as a disembodied script in school, only to see him come to life in a well-acted production?

...And on my fourth morning in Naples, I woke up alone. There was a note on the table with the breakfast that Cinzia had quietly prepared for me. It read, "It could never be. But that's why it will always be - perfectly divine. Cinzia" City Solipsism: A Short Story

Whatever we do, let’s not imagine that the Israelites were ancient versions of ourselves, maybe less well groomed, who were “nice,” read their Bibles daily, the kind you could invite to church and want to marry your daughter, who would vote Republican or drive a hybrid. We respect these biblical stories most when we try to understand what the writers did and why, not when we place false expectations on them, like seeing them as a timeless script or a permanent fixture for how to think about God.

I pulled out a large white T-shirt with black gothic script that read, "Equipe Edward" "Adele, how many times do I have to tell you?" he said in a very serious tone. "Vampires do not sparkle." "Okay, fine." I pretended to pout. "I'll give it to someone else." "No, you will not!" He yanked the T-shirt out of my reach. "Sparkles or not, I am still Team Edward.

It never looks like me, the person in the mirror , the black script reads. She looks like everyone else. I look around, not seeing anyone else in the hall, except for a few loiterers down by the doors to the lunch room. I keep reading. She’s like every woman on his arm—the same hair, the same clothes, the same smile, because to beat she has to compete, right? I stood in front of the mirror this morning, a mouthful of toothpaste and my hair tangled by your fingers. You sucked my lips swollen last night, and I can still smell your kisses on my skin. The world swims, how hard I’m used by you. How all I have when you’re done with me is my bones. I don’t care what I look like anymore as long as I look like yours. Marked, raw, tangled, sore, and scented like you—I don’t care. As long as I look like yours

Gabe pulled the card from the envolope. I want to help you. He flipped the card over. You are the best thing to ever happen to Vernon. Then in the tiniest script were words that Gabe had to squint to read: PS. The dog's name is Guppy.

I withdrew a small card from the pouch. The front of it was filled with lines of elegant, hand-lettered script. "What does it say?" Dad asked, leaning forward. "The Four Remembers of Life," I read. "Number one: Remember, you are unique. Number two: Remember, there is purpose to your life. Number three: Remember you are free to choose what you are and what you become. And number four: Remember, you are not alone.

You can start training yourself in this Stoic practice of objective representation right now by writing down a description of an upsetting or problematic event in plain language. Phrase things as accurately as possible and view them from a more philosophical perspective, with studied indifference. Once you’ve mastered this art, take it a step further by following the example of Paconius Agrippinus and look for positive opportunities. Write how you could exercise strength of character and cope wisely with the situation. Ask yourself how someone you admire might cope with the same situation or what that person might advise you to do. Treat the event like a sparring partner in the gym, giving you an opportunity to strengthen your emotional resilience and coping skills. You might want to read your script aloud and review it several times or compose several versions until you’re satisfied it’s helped you change how you feel about events.

And it was then that I noticed the dark black cursive script etched on the pink skin, the outline of the letters an angry red color that bordered a new tattoo. “What?” I murmured, leaning forward so I could read it. MONROE. His cock was tattooed with my name.

You’ve worked too hard to let an opportunity like this slip through your fingers—read the script.

How much of what people say is genuine and how much is politeness? Is anyone really living their life or are we all reading lines from a giant script written by other people.

About halfway through the script, Charlie realizes he has never read a story about two men falling in love before.

I am more attentive to the script of a play when I read it than when I see it performed.

It's been the longest time Since I've been in this place, Where I spend my whole day Hoping I'll see your face. Then I script things to say, And maybe what you'd say back. You don't know it yet, But, girl, it's a fact That I can see us Staying up late, Talking all night, But I guess I'll have to wait. 'Cause it's brand-new, Yeah, I know we just met. I want to be there with you, But not just yet. Girl, you've got that look, Like you're hard to impress. So I'm bumbling with words, 'Cause my mind is a mess. You were out of the blue And you caught me by surprise, With a slight smile, that long stare, And a challenge in your eyes I could feel all this In that single look, Like you could see my soul. You could read me like a book, And I think it's something. Though I know we just met, I'm gonna get there with you. You just don't know it ... yet.

Breaking our silence is powerful. Whether it comes as a whisper or a squeak at first, allow that sense of spaciousness, of opening, allow yourself to trust the bottomlessness, and lean into the dark roar which will light up every cell. Though it may start softly, we build in confidence and skills, we realise we do not need to wait for permission before we open our mouths. We do not need to wait for others to make space for us, we can take it. We do not need to read from others’ scripts or style ourselves in weak comparison. We do not need to look to another’s authority because we have our own. Down in our cores. We have waited so long for permission to know that it was our time, our turn on stage. That time is now. Our voices are being heard into being. They are needed.

Hermione turned to observe the marks that had been placed over the many years, shaking her head in disappointment. At the very top of the doorway, carved in strangely elegant script for vandalism, read: Marauders Only. All Others Will be Cursed. She rolled her eyes dramatically until her focus fell to a pair of initials inside of a heart scratched into the wall near her seat. S.B. + M.P.

It felt a little as if we'd found a script that had been written just for us, and we were reading through the beginning quickly [...] hurrying so we could get to the part that mattered, whatever that was to be.

Max never intended to be messy with his writing, which he could read just fine, years later if necessary, even if his teachers couldn’t. He merely found that his active mind tended to move too fast for his hand to keep up with.

The Correspondence-School Instructor Says Goodbye to His Poetry Students Goodbye, lady in Bangor, who sent me snapshots of yourself, after definitely hinting you were beautiful; goodbye, Miami Beach urologist, who enclosed plain brown envelopes for the return of your very “Clinical Sonnets”; goodbye, manufacturer of brassieres on the Coast, whose eclogues give the fullest treatment in literature yet to the sagging breast motif; goodbye, you in San Quentin, who wrote, “Being German my hero is Hitler,” instead of “Sincerely yours,” at the end of long, neat-scripted letters extolling the Pre-Raphaelites: I swear to you, it was just my way of cheering myself up, as I licked the stamped, self-addressed envelopes, the game I had of trying to guess which one of you, this time, had poisoned his glue. I did care. I did read each poem entire. I did say everything I thought in the mildest words I knew. And now, in this poem, or chopped prose, no better, I realize, than those troubled lines I kept sending back to you, I have to say I am relieved it is over: at the end I could feel only pity for that urge toward more life your poems kept smothering in words, the smell of which, days later, tingled in your nostrils as new, God-given impulses to write. Goodbye, you who are, for me, the postmarks again of imaginary towns—Xenia, Burnt Cabins, Hornell— their solitude given away in poems, only their loneliness kept. Galway Kinnell

Teenager Me—a teenager? If she suddenly stood, here, now, before me, would I need to treat her as near and dear, although she's strange to me, and distant? Shed a tear, kiss her brow for the simple reason that we share a birthdate? So many dissimilarities between us that only the bones are likely still the same, the cranial vault, the eye sockets. Since her eyes seem a little larger, her eyelashes are longer, she's taller, and the whole body is tightly sheathed in smooth, unblemished skin. Relatives and friends still link us, it is true, but in her world nearly all are living, while in mine almost no one survives from that shared circle. We differ so profoundly, talk and think about completely different things. She knows next to nothing— but with a doggedness deserving better causes. I know much more— but not for sure. She shows me poems, written in a clear and careful script I haven't used for years. I read the poems, read them. Well, maybe that one if it were shorter and touched up in a couple of places. The rest do not bode well. The conversation stumbles. On her pathetic watch time is still cheap and unsteady. On mine it's far more precious and precise. Nothing in parting, a fixed smile and no emotion. Only when she vanishes, leaving her scarf in her haste. A scarf of genuine wool, in colored stripes crocheted for her by our mother. I've still got it.

Just as sometimes I wondered if Grandpa had ever existed, sometimes I wondered if I truly existed myself. As I was running, I could see myself from outside myself: a skinny girl with the flapping shorts and too- big a T-shirt, always watching the other girls at school, a girl in a pink bedroom sitting with a book propped on her knees, the words she was reading entering her mind, some sticking like gluey never to be forgotten, others disappearing instantly, I could remember everything and remember nothing. I would watch a movie and recall every scene as if I had written the script, then watch another movie another day and be unable to recall it at all.

Our understanding of the universe is like a tale without beginning or end, where the reader creates the script as he reads along. It’s like the act of creation was more like an act of facilitation, where Love (divinity) is the facilitator and mankind’s mind, with its free will, is the co-creator.

If you had a script for your life, Leo thinks, you could look ahead to what would come next. You could see what is going to happen to you. You could read all the thousands and millions of words you will say. You will never again have to wonder What should I say or do? because it will all be written there for you. You could know what dumb things you will do. You could find out if you ever will do anything that isn't dumb. But then, what if your script was dull, if you never got to do anything exciting? Or what if something awful was going to happen to you? What if your script was very, very short?

An old man emerged from the ditch, a creature Of mud and wild autumn winds capering Like a hare across a bouldered field, across And through the stillness of time unhinged That sprawls patient and unexpected in the Place where battle lies spent, unmoving and Never again moving bodies strewn and Death-twisted like lost languages tracking Contorted glyphs on a barrow door, and he read well the aftermath, the disarticulated script Rent and dissolute the pillars of self toppled Like termite towers all spilled out round his Dancing feet, and he shouted in gleeful Revelation the truth he'd found, in these Red-fleshed pronouncements - “There is peace!” He shrieked. “There is peace!” and it was No difficult thing, where I sat in the saddle Above salt-rimed horseflesh to lift my crossbow Aim and loose the quarrel, skewering the madman To his proclamation. “Now,” said I, in the Silence that followed, “Now, there is peace.

Bill Door found a piece of chalk in the farm's old smithy, located a piece of board among the debris, and wrote very carefully for some time. Then he wedged the board in front of the henhouse and pointed Cyril toward it. THIS YOU WILL READ, he said. Cyril peered myopically at the "Cock-A Doodle-Doo" in heavy gothic script. Somewhere in his tiny mad chicken mind a very distinct and chilly understanding formed that he'd better learn to read very, very quickly.

Teenagers aren’t as malleable as children. They have a sense of self, aspiration, dreams. Sometimes, parents feel threatened by that autonomy. They cling to the idea of their child, the idea of who they are. Anything off-script feels like disobedience. So when that child would rather read and write than follow in his father’s footsteps, violence ensues. When that child is trapped in her own mind, her mother and father negate the pain as nothing but a symptom of age.

Lovely continues seriously, as if she has not heard. “I am an actress, so I need to be reading scripts and having fluent English, you understand? So that is how I am knowing Jivan, sweet girl. She was spending her time on teaching the poors. How many of you are doing that in your own life?” she demands. “Who are you all to judge her?

I have always loved the feel of books, the way they give a literal weight to words and make of them a sacred object I can hold. I'd made my own books as soon as I'd learned to write, tying sheets of construction paper together with ribbon to make a spine, then inscribing my name on the frontispiece in the most ceremonial script I could manage.

I‘ve forgotten who it was that said creation is memory. My own experiences and the various things I have read remain in my memory and become the basis upon which I create something new. I couldn’t do it out of nothing. For this reason, since the time I was a young man I have always kept a notebook handy when I read a book. I write down my reactions and what particularly moves me. I have stacks and stacks of these college notebooks, and when I go off to write a script, these are what I read. Somewhere they always provide me with a point of breakthrough. Even for single lines of dialogue I have taken hints from these notebooks. So what I want to say is, don’t read books while lying down in bed.

Who can say they saw a whole play or read a whole book? Each has their own experience, their own play, their own book

Leopard People read books by everybody and everything. We look outside and inside. But you have to be secure with yourself to do either . .

Your life script is like a newspaper cutting. On the front, there is a clean cut article detailing your life, but on the back side there are some random news items which have nothing to do with your life. If you are clueless about what’s happening in your life, you are reading it from the back side. Aware souls read it correctly so that whatever is in the script (mind) manifests outside.

Throughout the interactions I've had over the past ten years, I've learned that the gender binary is more of a comedy skit than a fact. People read each other, assign identifiers, and then play out a script accordingly.

The French are much more comfortable with the idea that their affair partner is just that—an affair partner,” writes Pamela Druckerman in her cross-cultural look at infidelity, Lust in Translation. Understanding that love and sex are different things, Druckerman says the French feel less need to “complain about their marriage to legitimize the affair in the first place.” But she found that Americans and British couples seemed to be reading from an entirely different script. “An affair, even a one-night stand, means a marriage is over,” Druckerman observed. “I spoke to women who, on discovering that their husbands had cheated, immediately packed a bag and left, because ‘that’s what you do.’ Not because that’s what they wanted to do—they just thought that was the rule. They didn’t even seem to realize there were other options…. I mean, really, like they’re reading from a script!

Oh, God in heaven, kill me now…” Rachel groaned. “I hate going to see Mrak. I always feel awkward going back to Velik Tor. After being a Scorpion for so long, after everything Oron’s told us about Mrak’s past…” she shook her head darkly. “I don’t know if I’ll be able to resist the temptation to perforate his bowels.” Notak looked back down at the letter. “Post script,” he read aloud. “Rachel, please leave Mrak alive and unharmed. We still need him, unfortunately, no matter how tempting it is to perforate his bowels.” “You made that up, he did not say that!” Notak handed her the letter, pointing. “Right there at the bottom.” Rachel squinted at the writing. “Faul.

If you were to write a script for the tape to be played for the mourners at your funeral, how would you like it to read? That’s your Primary Aim. And once you’ve created the script, all you need to do is make it come true. All

There would be, half a million things, I could do, yet I don’t know, what would be so? When I will see you, for the first time, calm, twined in your daddy’s arm, coming towards me, I could do, half a million things- caress your skin, fondle your chin, stroke though your limbs, smoothly touch your lips, and make my silent wishes, for your health and, your intellect. Half a million things, I could do, yet I don’t know, what would be so? When I will see you, for the first time, I could say, half a million things- call you my kid, read a fine script, whisper love in your ears, sing a hymn. Half a million things, I could say, yet I don’t know, what would be so? I fear though, what if I am unable to, do any of this, and all I end up with, is, just a knot of tears, loaded with, some of the most pure prayers, I have ever chaired. Half a million things, I could do and I could say, yet when it happens, little will my practice play. Half a million things, and I wouldn't know, how and where one begins.

He's not sure why he's thinking about Dev's stomach, or how he knows Dev's shirt has crept up in the corner. Except. Except he does know. He knew as soon as he read Dev's script. A slow, sinking realization that only became clear when he saw it mirrored back to him on the page.

The conversations I had had so often with magazine editors were now internalized. I could read both parts of the script. Did I think that was a beautiful scene I had written? Yes, I did. Did it further the cause of the novel? No, not really. Could I then delete it? It was already gone.

languages like Arabic, Russian, Korean, Greek, Thai, and others that use a phonetic script essentially require that you learn only a small set of characters, which represent particular sounds, and doing so will allow you to read that language as you would read any western European language.

These bears were reimagined in place through a collective belief and need. I do not know why they were sculpted into being, but their power is palpable. I may be blind to what has been buried here or held inside these effigy mounds for thousands of years, but I can read the landscape like Braille through the tips of my fingers translating the script of grasses into a narrative I can understand. The bears and birds and snakes written on the body of the Earth through the hands of humans who dwelled here in the Upper Mississippi River Valley are a reminder that we form the future by being caretakers of our past.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

The main thing I want to show in this chapter is that there is no magic involved in building your own language. I’ve often felt that some human inventions were so immensely clever and complicated that I’d never be able to understand them. But with a little reading and tinkering, such things often turn out to be quite mundane.

A. W. Tozer said, “To the child of God, there is no such thing as an accident. He travels an appointed way. . . . Accidents may indeed appear to befall him and misfortune stalk his way; but these evils will be so in appearance only and will seem evils only because we cannot read the secret script of God’s hidden providence.”4 This

As a country, we take out loans and go to school. We take out loans and buy a car. We take out loans and buy a home. It's not always that we simply "want" these things. Rather, it's often the case that we use our obligations as confirmations that "We're doing something." If we have things to pay for, we need a job. If we have a job, we need a car. If we have such things, we have a life, albeit an ordinary and monotonous life, but a life no less. If we have debt, we have a goal-- we have a reason to get out of bed in the morning. Debt narrows our options. It gives us a good reason to stick it out at a job, sink into sofas, and savor the comforts of the status quo. Debt is sought so we have a game to play, a battle to fight, a mythology to live out. It gives us a script to read, rules to abide by, instructions to follow. And when we see someone who doesn't play by our rules-- someone who's spurned the comforts of hearth and home-- we shift in our chairs and call him or her crazy. We feel a fury for the hobo and the hitchhiker, the hippie and gypsy, the vagrant and nomad-- not because we have any reason to believe these people will do us any harm, but because they make us feel uncomfortable.They remind us of the inner longings we've squelched, the hero or heroine we've buried beneath a houseful of junk, the spirit we've exorcised out of ourselves so we could remain with our feet on the ground, stable and secure.

HISTORY AND THE TRIPLET OF OPACITY History is opaque. You see what comes out, not the script that produces events, the generator of history. There is a fundamental incompleteness in your grasp of such events, since you do not see what's inside the box, how the mechanisms work. What I call the generator of historical events is different from the events themselves, much as the minds of the gods cannot be read just by witnessing their deeds. You are very likely to be fooled about their intentions. This disconnect is similar to the difference between the food you see on the table at the restaurant and the process you can observe in the kitchen. (The last time I brunched at a certain Chinese restaurant on Canal Street in downtown Manhattan, I saw a rat coming out of the kitchen.) The human mind suffers from three ailments as it comes into contact with history, what I call the triplet of opacity. They are: a. the illusion of understanding, or how everyone thinks he knows what is going on in a world that is more complicated (or random) than they realize; b. the retrospective distortion, or how we can assess matters only after the fact, as if they were in a rearview mirror (history seems clearer and more organized in history books than in empirical reality); and c. the overvaluation of factual information and the handicap of authoritative and learned people, particularly when they create categories—when they "Platonify.

The ancient pages rose among the others, palisaded with strange letters and words, the faint script hardly more readable than the footprints of birds. He read until his eyelids drooped. But as his head dropped, he fancied he caught the sharp savor of sap beneath the chalky dust of the pages, or the heavy perfumes of blossom from the orchards of plums and pears and apples.

A year ago, just after Ben’s disappearance, I was involved in a press conference, which was televised. My role was to appeal for help in finding him. The police gave me a script to read. I assumed people watching it would automatically understand who I was, that they would see I was a mother whose child was missing, and who cared about nothing apart from getting him back. Many

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

There are two people in the waiting room. One is an extremely thin old man, a retired teacher of French who still gives tuition by correspondence, and who whilst waiting his turn is correcting a pile of scripts with a pencil sharpened to a fine point. On the script he is about to examine, the essay title can be read: In Hell, Raskolnikov meets Meursault (“The Outsider”). Imagine a dialogue between them using material from both novels.

He should have been wearing a black roll-neck jumper with a faux military insignia on his chest, but obviously Skinner hadn’t been reading the script and had turned out for the final confrontation in jeans, black Nike trainers and a loose blue pinstripe collarless shirt. He was, at least, sitting in a swivel chair in front of the steady unblinking lights of the HPC rack. But he didn’t say, ‘Ahh, Mr Grant, we meet again,’ which showed a shocking lack of etiquette on his part.

I sold my chastity for a book. If I had only resisted him, would I be here now? “I want you to read to me,” he murmured as he turned to the first page. I stared at the Cyrillic script. “I can’t. I don’t know how.” Simple conversational Russian was one thing, but the complex language of Jane Austen was another. “You will learn,” he informed me. “I will help you.” A small furrow appeared between his brows as he turned his eyes to the text. “It is generally accepted that a rich man should need a wife,” he read, butchering the classic first line. I

On closer notice of her apron, he said, "Is that-?" "The Mad Hatter," she said. "I told you, I have a collection." "You collect aprons?" "Since I was little and my mom taught me to bake." When he smiled, she arched a brow. "Some find it charmingly quirky." "You never wore any to Gateau." "Shocking, I know. Because I'm certain the staff would have greatly appreciated the humor in them." His smile twitched wider at that. "You have a point, I suppose. I must say, this dry side of you is surprisingly appealing. What does it say?" He nodded toward her apron front. She lifted her arms away so he could read the script that accompanied the copy of an original pen and ink art rendering of the Hatter seated at a long table, holding a teacup aloft. "YOU'RE NEVER TOO OLD TO HAVE A TEA PARTY," he read out loud, then smiled at her. "I rather agree. You make a charming and somewhat more quirky Alice than I'd have expected. I seem to recall Alice spent the better part of her time being irritated and flustered, too. Perhaps if I'd come bearing tea and crumpets, with a bewildered, bespectacled white rabbit clutching a pocketwatch in his paw, you'd have been more willing to give me the time of day.

His flowing script rapidly filled six pages of thoughts and news. But when he paused to read over what he had written, he could not remember having written it, though the penmanship was perfect. Doggone. He tapped his head with his pen. He had written in his sleep. Tonight was worse than most nights. Because then he could not remember what he had read. It went back and forth, him writing, then reading, forgetting what he wrote, then forgetting what he read, then writing all over again. He refused to stop himself, but gradually he began to feel uneasy. He had the sense that someone was in the darkened corners of the room. Someone watching.

films like The Never-Ending Story (1984), Stranger than Fiction (2006), and The Adjustment Bureau (2011). Have you seen any of these films? Then you understand hermeneutics. In each case, the story revolves around a protagonist engaging his own life as a fictional story being written either in this world or in another, seemingly by someone else. As he reads and interprets the text of his life, however, he discovers that its story or plot changes. He discovers the circle or loop of hermeneutics. He discovers that as he engages his cultural script as text creatively and critically he is rereading and rewriting himself. He is changing the story.

Bob Cavallo remembers early on in the process, ‘We were at odds with each other. Our contract was up; five years had gone by since Purple Rain. We met at the Four Seasons with his lawyer and his accountant, me and Steve Fargnoli to discuss some kind of rapprochement because he had fired us. Basically he said, “I’ll work with you again but you’ve got to help me make this movie.” I read the treatment and said, “This could be an interesting thing,” and I said, “I’ll try to put you together with some young hip writers and maybe we can come up with a script quickly, ’cause this is pretty detailed.” And he went, “What are you talking about? That is the script.” It was thirty pages. And he said, “I’m going to shoot it, I know exactly how to do it.” So I said, “Maybe we could get this on Broadway for you. Would you be interested in that?” And he said, “No.” Now he was pissed that I didn’t think this was a good enough script, so we shook hands and that was the end of it. Then, about a year later, we were suing each other. But even when we sued each other, it was kinda funny. I said, “How could you not pay me?” He said, “How could you sue me?” He said, “You can’t have my children, those songs. You’re gonna give your involvement in those songs to your grandchildren?” And I said, “Yeah, I put ten years of my life into you, and you sucked all the air out of the room. I couldn’t really manage anybody else except for your friends.

The same solution--that Easter Island was once part of a much larger landmass--would also explain another, very different puzzle, namely the so-called Rongo Rongo script. It is unprecedented in human history for a sophisticated fully developed writing system to be invented and put into use by a small, isolated island community. Yet Easter Island does have its own script, examples of which, mostly incised on wooden boards, copies of copies of copies of much older lost originals, were collected in the nineteenth century and have found their way into a number of museums around the world. None remain on Easter Island itself and even in the period when they were collected no native Easter Islanders were able to read them.

Erect and somber, Washington rode into the middle of a hollow square formed by New York and Connecticut regiments while a chirpy throng of civilians ringed the greensward. A uniformed aide spurred his horse forward; the crowd hushed as he unfolded his script and began to read: “In Congress, July 4, 1776.” Even the most unlettered private recognized that something majestic was in the air. "We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are life, liberty, and the pursuit of happiness. That to secure these rights, governments are instituted among men, deriving their just powers from the consent of the governed.

Obviously, in those situations, we lose the sale. But we’re not trying to maximize each and every transaction. Instead, we’re trying to build a lifelong relationship with each customer, one phone call at a time. A lot of people may think it’s strange that an Internet company is so focused on the telephone, when only about 5 percent of our sales happen through the telephone. In fact, most of our phone calls don’t even result in sales. But what we’ve found is that on average, every customer contacts us at least once sometime during his or her lifetime, and we just need to make sure that we use that opportunity to create a lasting memory. The majority of phone calls don’t result in an immediate order. Sometimes a customer may be calling because it’s her first time returning an item, and she just wants a little help stepping through the process. Other times, a customer may call because there’s a wedding coming up this weekend and he wants a little fashion advice. And sometimes, we get customers who call simply because they’re a little lonely and want someone to talk to. I’m reminded of a time when I was in Santa Monica, California, a few years ago at a Skechers sales conference. After a long night of bar-hopping, a small group of us headed up to someone’s hotel room to order some food. My friend from Skechers tried to order a pepperoni pizza from the room-service menu, but was disappointed to learn that the hotel we were staying at did not deliver hot food after 11:00 PM. We had missed the deadline by several hours. In our inebriated state, a few of us cajoled her into calling Zappos to try to order a pizza. She took us up on our dare, turned on the speakerphone, and explained to the (very) patient Zappos rep that she was staying in a Santa Monica hotel and really craving a pepperoni pizza, that room service was no longer delivering hot food, and that she wanted to know if there was anything Zappos could do to help. The Zappos rep was initially a bit confused by the request, but she quickly recovered and put us on hold. She returned two minutes later, listing the five closest places in the Santa Monica area that were still open and delivering pizzas at that time. Now, truth be told, I was a little hesitant to include this story because I don’t actually want everyone who reads this book to start calling Zappos and ordering pizza. But I just think it’s a fun story to illustrate the power of not having scripts in your call center and empowering your employees to do what’s right for your brand, no matter how unusual or bizarre the situation. As for my friend from Skechers? After that phone call, she’s now a customer for life. Top 10 Ways to Instill Customer Service into Your Company   1. Make customer service a priority for the whole company, not just a department. A customer service attitude needs to come from the top.   2. Make WOW a verb that is part of your company’s everyday vocabulary.   3. Empower and trust your customer service reps. Trust that they want to provide great service… because they actually do. Escalations to a supervisor should be rare.   4. Realize that it’s okay to fire customers who are insatiable or abuse your employees.   5. Don’t measure call times, don’t force employees to upsell, and don’t use scripts.   6. Don’t hide your 1-800 number. It’s a message not just to your customers, but to your employees as well.   7. View each call as an investment in building a customer service brand, not as an expense you’re seeking to minimize.   8. Have the entire company celebrate great service. Tell stories of WOW experiences to everyone in the company.   9. Find and hire people who are already passionate about customer service. 10. Give great service to everyone: customers, employees, and vendors.

all this means that during the Bronze Age, a sophisticated syllabic script was developed to represent the Greek language in writing, and then during the collapse you told me about, all that knowledge was completely destroyed. Later writing systems devised to represent Greek bear no relation to Linear B. The people who developed and used them had no idea that Linear B had ever even existed. The unbearable thing is that when first inscribed, those markings meant something, to the people who wrote and read them, and then for thousands of years they meant nothing, nothing, nothing – because the link was broken, history had stopped. And then the twentieth century shook the watch and made history happen again. But can’t we do that too, in another way?

There's a thing that happens in Hollywood, when you hand in a script with magic in it, and the people at the studio who read it say "We don't quite understand... can you explain the rules? What are the rules here? The magic must have rules" and sometimes when they say that to me I explain that I am sure it does, just as life has rules, but they didn't give me a rule book to life when I was born, and I've been trying to figure it out as I go along, and I am sure it is the same thing for magic; and sometimes I explain that, yes, the magic has rules, and if they read again carefully they can figure out what they are; and sometimes I sigh and put in a line here and a line there that spells things out, says, YES THESE ARE THE RULES YOU DON'T ACTUALLY HAVE TO PAY ATTENTION and then everyone is very happy.

Happy birthday, Kya,” he said. “You’re fifteen.” A two-tiered bakery cake, tall as a hatbox and decorated with shells of pink icing, rose from the basket. Her name scripted on top. Presents, wrapped in colorful paper and tied with bows, surrounded the cake. She stared, flabbergasted, her mouth open. No one had wished her happy birthday since Ma left. No one had ever given her a store-bought cake with her name on it. She’d never had presents in real wrapping paper with ribbons. “How’d you know my birthday?” Having no calendar, she had no idea it was today. “I read it in your Bible.” While she pleaded for him not to cut through her name, he sliced enormous pieces of cake and plopped them on paper plates. Staring into each other’s eyes, they broke off bites and stuffed them in their mouths. Smacking loudly. Licking fingers. Laughing through icing-smeared grins. Eating cake the way it should be eaten, the way everybody wants to eat it.

You, the reader, make the book, but the book does not in itself exist between these decomposing covers. You read the script, you are, in your mind, actor, patron, director. Critic, ultimately. This collection of pages is just the beginning of a greater creation." "If what you say is true, then what of the writer of the books? Great men wrote them, and they know much more than I what is to be said and learned... [the author] surely knew more than I, and besides, the book is complete in itself." "[The author] may be great, but he still waits patiently for you to read him, and his books are incomplete without you. Without the reader, they are lines unspoken, scripts with neither reader nor audience. Recipes with no food - - and no cook. In a very real way, then, the book is not, as you say, complete. Until you read it. My point is, that in all of your deference and study you must remember who you are and realize that you are sharing--on equal terms--with the messenger on the other side of the page." ~McDuff from The Spawn of Loki (The MacDuff Saga) by Jason Henderson

relationship and twenty-five years later we are still together. I had written four shows for her: Foyle’s War, Injustice, Collision and Menace. She was the first person to read my books, even before Hilda Starke. It feels odd to be writing about her and the truth is she has made it clear that she’s uncomfortable being a character in my book. Unfortunately, truth is what it’s all about. She is the main character in my life. ‘You’re working with that detective again, aren’t you?’ she said as we sat there, eating. ‘Yes.’ I hadn’t wanted her to know but I never tell her lies. She can see right through me. ‘Is that a good idea?’ ‘Not really. But I have a three-book deal and a case came up.’ I felt guilty. I knew she was waiting for my script. ‘I think it’s over anyway,’ I went on. ‘Hawthorne knows who did it.’ He hadn’t said as much but I could tell. There was something quite animalistic about Hawthorne. The closer he got to the truth, the more you could see it in his eyes, in the way he sat, in the very contours of his skin. He really was the dog with the bone. I’d hoped we might

This scene came from the writing I did with Bill in New York, working out of an office in the Director’s Guild building. I generally came in early and worked for a couple of hours before Bill arrived. He would then spend about an hour puttering around the office and smoking cheroots, then would eventually settle in next to me at the desk, read what I had written, and begin offering suggestions and improvements. Sometimes I would print out a scene and then mark it up—as with the scene above—as Bill tried out Phil’s dialogue, and we tweaked lines accordingly. Our afternoons were often spent walking around New York running Bill’s errands while talking about general script issues. He was a warm and wonderful host to me during my New York visit. There was an afternoon where he and Tom Davis paired up against me and Dan Aykroyd in a spontaneous basketball game, the four of us sneakerless and slipping around in our socks. I made my bones with Bill that day when he hurled a basketball at my head and I managed to duck. “Good reflexes,” he said. I think of these two weeks with Bill as one of the more surreal and memorable experiences of my writer’s life.

A striking example from the history of writing is the origin of the syllabary devised in Arkansas around 1820 by a Cherokee Indian named Sequoyah, for writing the Cherokee language. Sequoyah observed that white people made marks on paper, and that they derived great advantage by using those marks to record and repeat lengthy speeches. However, the detailed operations of those marks remained a mystery to him, since (like most Cherokees before 1820) Sequoyah was illiterate and could neither speak nor read English. Because he was a blacksmith, Sequoyah began by devising an accounting system to help him keep track of his customers’ debts. He drew a picture of each customer; then he drew circles and lines of various sizes to represent the amount of money owed. Around 1810, Sequoyah decided to go on to design a system for writing the Cherokee language. He again began by drawing pictures, but gave them up as too complicated and too artistically demanding. He next started to invent separate signs for each word, and again became dissatisfied when he had coined thousands of signs and still needed more. Finally, Sequoyah realized that words were made up of modest numbers of different sound bites that recurred in many different words—what we would call syllables. He initially devised 200 syllabic signs and gradually reduced them to 85, most of them for combinations of one consonant and one vowel. As one source of the signs themselves, Sequoyah practiced copying the letters from an English spelling book given to him by a schoolteacher. About two dozen of his Cherokee syllabic signs were taken directly from those letters, though of course with completely changed meanings, since Sequoyah did not know the English meanings. For example, he chose the shapes D, R, b, h to represent the Cherokee syllables a, e, si, and ni, respectively, while the shape of the numeral 4 was borrowed for the syllable se. He coined other signs by modifying English letters, such as designing the signs , , and to represent the syllables yu, sa, and na, respectively. Still other signs were entirely of his creation, such as , , and for ho, li, and nu, respectively. Sequoyah’s syllabary is widely admired by professional linguists for its good fit to Cherokee sounds, and for the ease with which it can be learned. Within a short time, the Cherokees achieved almost 100 percent literacy in the syllabary, bought a printing press, had Sequoyah’s signs cast as type, and began printing books and newspapers. Cherokee writing remains one of the best-attested examples of a script that arose through idea diffusion. We know that Sequoyah received paper and other writing materials, the idea of a writing system, the idea of using separate marks, and the forms of several dozen marks. Since, however, he could neither read nor write English, he acquired no details or even principles from the existing scripts around him. Surrounded by alphabets he could not understand, he instead independently reinvented a syllabary, unaware that the Minoans of Crete had already invented another syllabary 3,500 years previously.

Oedipa spent the next several days in and out of libraries and earnest discussions with Emory Bortz and Genghis Cohen. She feared a little for their security in view of what was happening to everyone else she knew. The day after reading Blobb's Peregrinations she, with Bortz, Grace, and the graduate students, attended Randolph Driblette's burial, listened to a younger brother's helpless, stricken eulogy, watched the mother, spectral in afternoon smog, cry, and came back at night to sit on the grave and drink Napa Valley muscatel, which Driblette in his time had put away barrels of. There was no moon, smog covered the stars, all black as a Tristero rider. Oedipa sat on the earth, ass getting cold, wondering whether, as Driblette had suggested that night from the shower, some version of herself hadn't vanished with him. Perhaps her mind would go on flexing psychic muscles that no longer existed; would be betrayed and mocked by a phantom self as the amputee is by a phantom limb. Someday she might replace whatever of her had gone away by some prosthetic device, a dress of a certain color, a phrase in a ' letter, another lover. She tried to reach out, to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay-any stubborn quiescence perhaps gathering itself for some last burst, some last scramble up through earth, just-glimmering, holding together with its final strength a transient, winged shape, needing to settle at once in the warm host, or dissipate forever into the dark. If you come to me, prayed Oedipa, bring your memories of the last night. Or if you have to keep down your payload, the last five minutes-that may be enough. But so I'll know if your walk into the sea had anything to do with Tristero. If they got rid of you for the reason they got rid of Hilarius and Mucho and Metzger-maybe because they thought I no longer needed you. They were wrong. I needed you. Only bring me that memory, and you can live with me for whatever time I've got. She remembered his head, floating in the shower, saying, you could fall in love with me. But could she have saved him? She looked over at the girl who'd given her the news of his death. Had they been in love? Did she know why Driblette had put in those two extra lines that night? Had he even known why? No one could begin to trace it. A hundred hangups, permuted, combined-sex, money, illness, despair with the history of his time and place, who knew. Changing the script had no clearer motive than his suicide. There was the same whimsy to both. Perhaps-she felt briefly penetrated, as if the bright winged thing had actually made it to the sanctuary of her heart-perhaps, springing from the same slick labyrinth, adding those two lines had even, in a way never to be explained, served him as a rehearsal for his night's walk away into that vast sink of the primal blood the Pacific. She waited for the winged brightness to announce its safe arrival. But there was silence. Driblette, she called. The signal echoing down twisted miles of brain circuitry. Driblette! But as with Maxwell's Demon, so now. Either she could not communicate, or he did not exist.