Sentences With Double Quotes

Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I'm bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double-jointed toes are enough. I am a just-pulled pint with a good, frothy head on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event, and the backing singers. And if this is it, if this is all there is- just me and the trees and the sky and the seas- I know now that that's enough.

This sentence is made of lead (and a sentence of lead gives a reader an entirely different sensation from one made of magnesium). This sentence is made of yak wool. This sentence is made of sunlight and plums. This sentence is made of ice. This sentence is made from the blood of the poet. This sentence was made in Japan. This sentence glows in the dark. This sentence was born with a caul. This sentence has a crush on Norman Mailer. This sentence is a wino and doesn't care who knows it. Like many italic sentences, this one has Mafia connections. This sentence is a double Cancer with a Pisces rising. This sentence lost its mind searching for the perfect paragraph. This sentence refuses to be diagrammed. This sentence ran off with an adverb clause. This sentence is 100 percent organic: it will not retain a facsimile of freshness like those sentences of Homer, Shakespeare, Goethe et al., which are loaded with preservatives. This sentence leaks. This sentence doesn't look Jewish... This sentence has accepted Jesus Christ as its personal savior. This sentence once spit in a book reviewer's eye. This sentence can do the funky chicken. This sentence has seen too much and forgotten too little. This sentence is called "Speedoo" but its real name is Mr. Earl. This sentence may be pregnant. This sentence suffered a split infinitive - and survived. If this sentence has been a snake you'd have bitten it. This sentence went to jail with Clifford Irving. This sentence went to Woodstock. And this little sentence went wee wee wee all the way home.

To translate is never simple. To translate is to betray at the borders, it’s to cheat, it’s to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. To translate is to distance oneself from God’s truth, which, as everyone knows or believes, is single.

There once was a woman named Story Easton who couldn't decide if she should kill herself, or eat a double cheeseburger.

Some readers read a book as if it were an instruction manual, expecting to understand everything first time, but of course when you write, you put into every sentence an overflow of meaning, and you create in every sentence as many resonances and double meanings and ambiguities as you can possibly pack in there, so that people can read it again and get something new each time.

The beauty myth sets it up this way: A high rating as an art object is the most valuable tribute a woman can exact from her lover. If he appreciates her face and body because it is hers, that is next to worthless. It is very neat: The myth contrives to make women offend men by scrutinizing honest appreciation when they give it; it can make men offend women merely by giving them honest appreciation. It can manage to contaminate the sentence "You're beautiful," which is next to "I love you" in expressing a bond of regard between a woman and a man. A man cannot tell a woman that he loves to look at her without risking making her unhappy. If he never tells her, she is destined to be unhappy. And the "luckiest" woman of all, told she is loved because she's "beautiful," is often tormented because she lacks the security of being desired because she looks like who she lovably is.

A good sentence, I find myself saying frequently, is one that the reader can follow from beginning to end, no matter how long it is, without having to double back in confusion because the writer misused or omitted a key piece of punctuation, chose a vague or misleading pronoun, or in some other way engaged in inadvertent misdirection.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I'm bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double-jointed toes are enough. I am a just-pulled pint with a good, frothy heard on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event, and the backing singers. And if this is it, if this is all there is- just me and the trees and the sky and the seas- I know now that that's enough.

Young women today feel vulnerable to judgment; if a harsh sentence is passed (or even suspected or projected), it is not her reputation that suffers so much as the stability of her moral universe. They did not have long to explore the sexual revolution and make it their own. Before the old chains had grown cold, while young women were still rubbing the circulation back into their ankles and taking tentative steps forward, the beauty industries levied a heavy toll on further investigations, and beauty pornography offered them designer bondage.

I don’t need to change my shape to make myself worthy of someone’s love. I don’t need any words or looks or comments from a man to believe I’m visible; to believe I am here. (...) Because I am enough. My heart is enough. The stories and sentences twisting around my mind are enough. My early morning walks and light night baths are enough. My singing in the shower, my double jointed toes and my loud laugh in the pub is enough. I am my own universe. I am the warm up act, the main event and the backing singers. And if this is it, if this is all there is - just me, the trees, the sky and the sea- I know now that that’s enough. I am whole. I am complete. I will never run out.

I cross-examined him and he double-crossed me but that's fine; I'll prosecute him one day and he'll be sentenced to life without parole…with me.

I lay awake listening to the rain, and at first it was as pleasant to my ear and my mind as it had long been desired; but before I fell asleep it had become a majestic and finally a terrible thing, instead of a sweet sound and symbol. It was accusing and trying me and passing judgment. Long I lay still under the sentence, listening to the rain, and then at last listening to words which seemed to be spoken by a ghostly double beside me. He was muttering: The all-night rain puts out summer like a torch. In the heavy, black rain falling straight from invisible, dark sky to invisible, dark earth the heat of summer is annihilated, the splendour is dead, the summer is gone. The midnight rain buries it away where it has buried all sound but its own. I am alone in the dark still night, and my ear listens to the rain piping in the gutters and roaring softly in the trees of the world. Even so will the rain fall darkly upon the grass over the grave when my ears can hear it no more… The summer is gone, and never can it return. There will never be any summer any more, and I am weary of everything… I am alone. The truth is that the rain falls for ever and I am melting into it. Black and monotonously sounding is the midnight and solitude of the rain. In a little while or in an age – for it is all one – I shall know the full truth of the words I used to love, I knew not why, in my days of nature, in the days before the rain: ‘Blessed are the dead that the rain rains on.

¿Cuál es el mejor estado del mundo?: Estar dos unidos. Translation. This phrase means: "What is the best state of the world?: Being together. " In this sentence, is a writer plays with the ambiguity of the Spanish language. The word "state" has different meanings in Spanish, plays on the double meaning, first, marital status, second, the state of a nation. The phrase "being two together" in Spanish "estar dos unidos," is very similar to the way in which the Spanish say USA.

Write a love letter, a love paragraph, or a love sentence to your spouse, and give it quietly or with fanfare! You may someday find your love letter tucked away in some special place. Words are important!   6. Compliment your spouse in the presence of his parents or friends. You will get double credit: Your spouse will feel loved and the parents will feel lucky to have such a great son-in-law or daughter-in-law.

History resists an ending as surely as nature abhors a vacuum; the narrative of our days is a run-on sentence, every full stop a comma in embryo. But more: like thought, like water, history is fluid, unpredictable, dangerous. It leaps and surges and doubles back, cuts unpredictable channels, surfaces suddenly in places no one would expect.

If we bend over backwards to help immigrants and they throw that assistance back in our faces by committing crime then the punitive sentences should be double what would normally be expected, and upon serving their sentence they should be deported immediately.

So what you're saying [...] is that the translator has a lot of decisions to make. That there are multiple meanings to be found in any word, in any sentence. In any situation.

In France, we leave a single space before and after most punctuation marks. In England, there are generally no spaces before punctuation, and one inserts a double space between sentences.

River doesn’t let me finish my sentence as he gently pushes me back against the rail. His arms are extended on either side of me, he’s surrounding me, caging me in, but once again, I don’t feel trapped. He never moves his lips away from my neck as he repositions us. My breath is hitched and my heartbeat has doubled as I tilt my head back to allow him full access to my neck. He’s softly running a trail of kisses from my neck up to my mouth, slowly, lightly licking, softly sucking, until his lips finally meet mine.

Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I’m bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double-jointed toes are enough. I am a just-pulled pint with a good, frothy head on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event, and the backing singers. And if this is it, if this is all there is—just me and the trees and the sky and the seas—I know now that that’s enough.

Words accrue and lose meaning through a semantic mobility dependent on the community in which they thrive, and these meanings cannot be divorced from bodily sensation and emotion. Slang emerges among a circle of speakers. Irony requires double consciousness, reading one meaning and understanding another. Elegant prose involves a feeling for the rhythms and the music of sentences, a product of the sensual pleasure a writer takes in the sounds of words and the varying metric beats of sentences. Creative translation must take all this into account. If a meaning is lost in one sentence, it might be gained or added to the next one. Such considerations are not strictly logical. They do not involve a step-by-step plan but come from the translator’s felt understanding of the two languages involved. Rodney

He saw a cottage with a double coach-house, A cottage of gentility, And the devil was pleased, for his darling sin Is the pride that apes humility.

At the rate these illuminations appear, it will no doubt take me a long time to gather the material for even one single book. For my inspired double-- this phantom builder of sentences who maliciously impedes my work to dictate his clever discoveries-- always comes at those (infrequent) hours of his choosing, drafts (at best) three little pages, then goes away.

the judge put more faith in the algorithm than in the agreement reached by the defence and the prosecution, rejected the plea bargain and doubled Zilly’s sentence from one year in county jail to two years in a state prison.

I thought of Shakespearean chiasmus. A chiasmus in language is a crisscross structure. A doubling back sentence. A doubling of meaning. My favorite is “love’s fire heats water, water cools not love.” As a motif, a chiasmus is a world within a world where transformation is possible. In the green world events and actions lose their origins. Like in dreams. Time loses itself. The impossible happens as if it were ordinary. First meanings are undone and remade by second meanings.

Fawcett also shared with me a passion for words and we would trawl the dictionary together and simply howl and wriggle with delight at the existence of such splendours as ‘strobile’ and ‘magniloquent’, daring and double-daring each other to use them to masters in lessons without giggling. ‘Strobile’ was a tricky one to insert naturally into conversation, since it means a kind of fir-cone, but magniloquent I did manage. I, being I, went always that little bit too far of course. There was one master who had berated me in a lesson for some tautology or other. He, as what human being wouldn’t when confronted with a lippy verbal show-off like me, delighted in seizing on opportunities to put me down. He was not, however, an English teacher, nor was he necessarily the brightest man in the world. ‘So, Fry. “A lemon yellow colour” is precipitated in your test tube is it? I think you will find, Fry, that we all know that lemons are yellow and that yellow is a colour. Try not to use thee words where one will do. Hm?’ I smarted under this, but got my revenge a week or so later. ‘Well, Fry? It’s a simple enough question. What is titration?’ ‘Well, sir…, it’s a process whereby…’ ‘Come on, come on. Either you know or you don’t.’ ‘Sorry sir, I am anxious to avoid pleonasm, but I think…’ ‘Anxious to avoid what?’ ‘Pleonasm, sir.’ ‘And what do you mean by that?’ ‘I’m sorry, sir. I meant that I had no wish to be sesquipedalian.’ ‘What?’ ‘Sesquipedalian, sir.’ ‘What are you talking about?’ I allowed a note of confusion and bewilderment to enter my voice. ‘I didn’t want to be sesquipedalian, sir! You know, pleonastic.’ ‘Look, if you’ve got something to say to me, say it. What is this pleonastic nonsense?’ ‘It means sir, using more words in a sentence than are necessary. I was anxious to avoid being tautologous, repetitive or superfluous.’ ‘Well why on earth didn’t you say so?’ ‘I’m sorry, sir. I’ll remember in future, sir.’ I stood up and turned round to face the whole form, my hand on my heart. ‘I solemnly promise in future to help sir out by using seven words where one will do. I solemnly promise to be as pleonastic, prolix and sesquipedalian as he could possibly wish.’ It is a mark of the man’s fundamental good nature that he didn’t whip out a knife there and then, slit my throat from ear to ear and trample on my body in hobnailed boots. The look he gave me showed that he came damned close to considering the idea.

Do not, cherie, ever think you cannot measure up to my expectations." "You might get tired teaching me things." His hand spanned the slim column of her throat so that her pulse was beating into the center of his palm. "Never. It will never happen. And I have much to learn from you.There has been no laughter in my life.You have brought that to me.There are many things you have brought to my life-feelings and emotions I could never experience without you." He bent to brush her mouth with his. "Can you not feel that I speak the truth?" Savannah closed her eyes as his mouth took possession of hers, as his mind merged firmly with hers. There was such an intimacy in sharing his thoughts and feelings. Gregori was intense in his hunger and need. There were no doubts in him, no hesitation. He knew they would always be together; he would accept nothing else.If something ever changed that,he would choose to follow her into the dawn. Gregori released her slowly, almost reluctantly. She stood very still, looking up at him, her blue eyes studying his face. "We can do this Savannah," he encouraged her softly. "Do not get frightened and try to run from your fate. Stay with me and fight." A small smile touched her mouth. "Fate. Interesting word to use. You make it sound like I've been sentenced to prison." She took a deep breath and made herself relax. "You're bad, but not quite that bad," she teased him. His white teeth gleamed, his predator's smile. "I am very bad, ma petite. Do not forget that if you wish to be safe." She shrugged casually, but her heart leapt in response. "Safety is not a concept I strictly adhere to," she ansered, her chin up. "That is a double-edged sword for me." Savannah burst out laughing, her natural sense of humor bubbling up. "You bet it is. I don't intend to make things easy for you. You've had your way for far too long.

We cannot feel badly for those who intentionally harm us. If we do, we will not be free from their heavy chains. Pity gives way to excuses and excuses will soften the heart of anyone. It’s a part of the human condition. It is the double-edged sword of compassion. Those who have been targeted are often very empathetic people. They may identify with being sensitive spirited. In the recovery community, it is called being an Empath. The dance between an empath and an abuser is one of control, mind games, and mockery. This is why education is such a critical step in the healing process. Tenderness from empaths will be used against them time and time again by psychological abusers. In Healing from Hidden Abuse, we have a lot of material to cover. My desire is that you will not feel rushed to quickly get through it from cover to cover. I enjoy reading books slowly, and reflecting on the words I have read. I will often sit down with a pen in hand and underline key phrases or sentences that jump out at me. That way, I can later go back and quickly remind myself of the nuggets that originally were meaningful. I would encourage you to do the same here. If you do push through this material, maybe consider coming back around for a second read and taking time to reflect a little

I know that back when you were in seventh-grade typing class and pecking away at your Smith Corona Coronet Automatic 12, Mrs. Tegnell taught you to type a double space after a sentence-ending period, but you are no longer in the seventh grade, you are no longer typing on a typewriter, and Mrs. Tegnell is no longer looking over your shoulder.

Double sentencing wasn’t a new idea, but rather the latest variation on the theme. Before that, a murderer might be hanged and then drawn and quartered, wherein horses were tied to his limbs and spurred off in four directions, the resultant “quarters” being impaled on spikes and publicly displayed, as a colorful reminder to the citizenry of the ill-advisedness of crime.

These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse.  Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable.  The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature.  The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs.  He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

White double bloodroot and blue scilla covered yards on my path to the store. The leather knuckles of milkweed were pushing from the earth. Dark hemlocks and pine were tipped with tiny tender green needles. People wandered about like toddlers, bending over to look at last year’s dried grass. They watched the sky and examined the tags of newly planted city trees. And the air—it was a clean cold food.

Sending Violet into the Riders Quadrant is tantamount to a death sentence.” Guess Mira isn’t done arguing. Mira’s never done arguing with Mom, and the frustrating thing about it is that Mom has always respected her for it. Double standard for the win. “She’s not strong enough, Mom! She’s already broken her arm this year, she sprains some joint every other week, and she’s not tall enough to mount any dragon big enough to keep her alive in a battle.

We may now briefly enumerate the elements of style.  We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical, and pleasing to the ear, without ever allowing them to fall into the strictly metrical: peculiar to the versifier, the task of combining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre—harmonious in diversity: common to both, the task of artfully combining the prime elements of language into phrases that shall be musical in the mouth; the task of weaving their argument into a texture of committed phrases and of rounded periods—but this particularly binding in the case of prose: and, again common to both, the task of choosing apt, explicit, and communicative words.  We begin to see now what an intricate affair is any perfect passage; how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and why, when it is made, it should afford us so complete a pleasure.  From the arrangement of according letters, which is altogether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which is a vigorous act of the pure intellect, there is scarce a faculty in man but has been exercised.  We need not wonder, then, if perfect sentences are rare, and perfect pages rarer. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

There I was, in black and white. My entire being of weirdness, easily explained with bullet points listed under both “Signs of Adult AD(H)D” and “Signs of Adult Giftedness.” Double trouble. Twice fucked, as I like to say. Getting diagnosed was definitely a mixed blessing for me. On one hand there was a nicely packaged reason for all of the things I felt were wrong with me. On the other hand, it was comparable to a mental-health death sentence. I used to say to my mom, “It shouldn’t be this hard…it isn’t this hard for other people…this isn’t normal.” I used to think I could just fix myself away with my little self-improvement plans. I still do, actually—a different one every week, but getting that diagnosis meant I could do all of the self-improvement plans available in the universe, and I would still come out as messed up as I went in. No improvements for me. Sorry, Charlie. Shit out of luck, my friend. I’ve always felt misunderstood. Though I was never at a loss for friends, I was always told I was weird, which I was totally OK with. Weird

Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I’m bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double-jointed toes are enough. I am a just-pulled pint with a good, frothy head on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event, and the backing singers.

don’t need to run away from discomfort and into a male eyeline. That’s not where I come alive. Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I’m bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double-jointed toes are enough. I am a just-pulled pint with a good, frothy head on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event, and the backing singers.

Hey Blake, how’s it hanging?” She questioned, looking through me at Blake, obviously ignoring my presence. She looked smug at the double meaning in her sentence. Blake furrowed his eyebrows. Brianna only talked to him on rare occasions when she bumped into us at my house. He must have been confused as to why she approached us in public, considering how she and I weren’t friends even in the slightest sense. Ignoring the fact that she was talking to Blake and not me, I spoke. “Longer than anything you’ve ever sucked.” Blake’s eyes widened for a second before he bit his lip to keep from laughing. Brianna turned toward me with cold eyes, her smile gone. “Not like you would know, Virgin Violet.” Her cohorts laughed and smiled like that was the funniest thing they had heard in their entire lives. “You know I really do admire you, Bri Bri.” I smiled sweetly, leaning forward as I placed my hand on her shoulder. “The fact that you’ve had so many fuck buddies this summer and still have not managed to contract some kind of STI or gotten pregnant really does inspire me.” I smirked wickedly. “At least from my knowledge you haven’t.” The look that came to her face made me want to buckle over with laughter. She looked flustered, angry, and embarrassed all at the same time. Maybe I hit a soft spot.

Moore’s law means computers will get smaller, more powerful, and cheaper at a reliable rate. This does not happen because Moore’s law is a natural law of the physical world, like gravity, or the Second Law of Thermodynamics. It happens because the consumer and business markets motivate computer chip makers to compete and contribute to smaller, faster, cheaper computers, smart phones, cameras, printers, solar arrays, and soon, 3-D printers. And chip makers are building on the technologies and techniques of the past. In 1971, 2,300 transistors could be printed on a chip. Forty years, or twenty doublings later, 2,600,000,000. And with those transistors, more than two million of which could fit on the period at the end of this sentence, came increased speed.

back to pin the whole mess on Taleniekov. They kept repeating the words “enemy” and “Commie bastard” to the point where I could have wasted them. They wanted to paint Vasili as the whole evil empire, all by himself, when nothing could have been farther from the truth.’ ‘Only the hotheads, Brandon, only the hotheads. The rest of us didn’t say those things or believe them.’ ‘Then you cooler fellows should have put out the fires! When I told them that Taleniekov had to get out of Moscow because he was under a death sentence, they kept saying “a setup” and “a double agent” and other stupid clichés they knew nothing about!’ ‘But you knew that if you told the whole truth, Taleniekov would go down in history as the madman who brought the superpowers to the edge

The stiffer sentencing policies for drug crimes—not a net increase in crime—caused the American prison population to quadruple between 1980 and 2000. While violent criminals typically account for about half of the prison population at any given time, more people were incarcerated for drug crimes than violent crimes every year from 1993 to 2009. White people are more likely than Black and Latinx people to sell drugs, and the races consume drugs at similar rates. Yet African Americans are far more likely than Whites to be jailed for drug offenses. Nonviolent Black drug offenders remain in prisons for about the same length of time (58.7 months) as violent White criminals (61.7 months). In 2016, Black and Latinx people were still grossly overrepresented in the prison population at 56 percent, double their percentage of the U.S. adult population.

Allan realised it was only a matter of time before he and Herbert were stopped along the road and checked out properly. Not even a marshal would be allowed just to roll into the capital of a country at war without somebody at least asking a question or two. So Allan spent a couple of hours instructing Herbert as to what he should say – just one sentence in Russian, but a very important one: ‘I am Marshal Meretskov from the Soviet Union – take me to your leader!’ Pyongyang was protected at this time by an outer and an inner military ring. The outer one, twenty kilometres from the city, consisted of anti-aircraft guns and double checkpoints on roads, while the inner ring was virtually a barricade, a front line for defence against land attack. Allan and Herbert got caught in one of the outer checkpoints first and were met by a very drunk North Korean soldier, with a cocked machine gun across his chest. Marshal Herbert had rehearsed his single sentence endlessly, and now he said: ‘I am your leader, take me to… the Soviet Union.

The law isn’t supposed to be about unspoken excuses and behind-the-scenes calculations. The beauty of the system is that judges and juries are allowed to consider only what is seen and heard in open court. In between the white lines of this arena, it’s all supposed to make sense. This is where we all get to be equal again. In the defendant’s chair, rich and poor ride the same roller coaster, face the same music. Case has to match case. Sentence should match sentence. But they don’t match anymore. They probably never did, and probably it was never even close. But at least there was the illusion of it. What’s happened now, in this new era of settlements and non prosecutions is that the state has formally surrendered to its own excuses. It has decided just to punt from the start and take the money which doesn’t become really wrong until it turns around the next day and decides to double down on the less-defended, flooring it all the way to trial against a welfare mom or some joker who sold a brick of dope in the projects. Repeat the same process a few million times, and that’s how the jails in American get the population they have. Even if every single person they sent to jail were guilty, the system would still be an epic fail—it’s the jurisprudential version of Pravda, where the facts int he paper might have all been true on any given day, but the lie was all in what was not said. That’s what nobody gets, that the two approaches to justice may individually make a kind of sense. but side by side they’re a dystopia, here common city courts become factories for turning poor people into prisoners, while federal prosecutors on the white-collar beat turn into overpriced garbage men, who behind closed doors quietly dispose of the sins of the rich for a fee. And it’s evolved this way over time and for a thousand reasons, so that almost nobody is aware of the whole picture, the two worlds so separate that they’re barely visible to each other. The usual political descriptors like “unfairness” and “injustice” don’t really apply. it’s more like a breakdown into madness.

Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books levelled down to a sort of paste pudding norm [...]. [...] Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations, Digests. Tabloids. Everything boils down to the gag, the snap ending. [...] Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet [...] was a one-page digest in a book that claimed: "now at least you can read all the classics; keep up with your neighbors". Do you see? Out of the nursery into the college and back to the nursery; there's your intellectual pattern for the past five centuries or more. [...] Speed up the film, Montag, quick. Click? Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man's mind around about so fast under the pumping hands of publishers, exploiters, broadcasters, that the centrifuge flings off all unnecessary, time-wasting thought! [...] School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts? [...] The zipper displaces the button and a man lacks just that much time to think while dressing at dawn, a philosophical hour, and thus a melancholy hour. [...] Life becomes one big pratfall, Montag; everything bang, boff, and wow!

Double-clicking on his inbox, Jason noted that one of the three messages was from Suzy, aka ButterfliesInMyTummy, and his mood lifted. It was the fourth or fifth message they’d exchanged, and they were just starting to move beyond the tedious small-talk stage. He skimmed through the message, growing increasingly impatient. Suzy favoured those little face icons. The whole page was littered with them – smiley faces, sad faces, surprised faces, embarrassed faces. Why couldn’t she just use words like everyone else? She also put five or six exclamation marks after a sentence, or added extra vowels to words, so everything was sooooooooo much fun or soooooooooo boring. It wound Jason up when people couldn’t write properly. He wasn’t asking for brain of Britain, but he liked a woman to be able to write a sentence that started with a capital letter and ended with a full stop and at least made an attempt at the Queen’s English. At least it wasn’t in text speak. He refused to answer the messages that spelled thanks ‘tnx’. Britain didn’t go through two World Wars so that the English language could be mutilated beyond recognition.

He waited a few more seconds, hoping her tight jaw would unclench and she’d ask him to stay, but she sat staring down the empty track. There was nothing for him to do but walk away. The drum of his boot heels as he left Amanda and Lydia behind sounded like the clang of the door slamming shut on his prison cell in Lexington. Each step away from them felt like a year added to his sentence. Spence only walked about a hundred yards before he stopped. His chest ached so much he could hardly draw breath. He couldn’t do this. He looked back over his shoulder at Amanda sitting on the bench. She held Lydia on her lap facing her, resting against her arms and looking up into her face. They were involved in an intimate, one-sided conversation. He stood and stared. He couldn’t leave them, but Amanda had made it clear she didn’t want him. God, he would give anything if he could go back and change the way they’d met. But how could he have done things differently and still have met Amanda? If he hadn’t pretended to be Travis Baxter that day at the station, she never would’ve spoken to him at all. Spence couldn’t regret what he’d done nor could he condone it. It was a double-edged sword.

One night, having spent a few days in peaceful solitude with my thoughts, I walked under the stars and along the cobbled streets and an idea crept all over me like arresting, vibrant blooms of wisteria. I don’t need a dazzlingly charismatic musician to write a line about me in a song. I don’t need a guru to tell me things about myself I think I don’t know. I don’t need to cut all my hair off because a boy told me it would suit me. I don’t need to change my shape to make myself worthy of someone’s love. I don’t need any words or looks or comments from a man to believe I’m visible; to believe I’m here. I don’t need to run away from discomfort and into a male eyeline. That’s not where I come alive. Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I’m bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double-jointed toes are enough. I am a just-pulled pint with a good, frothy head on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event and the backing singers. And if this is it, if this is all there is – just me and the trees and the sky and the seas – I know now that that’s enough. I am enough. I am enough.

The spectrum of hatred against “irregardless” might be unmatched. Everyone claims to hate the word “moist,” but the dislike is general and jokey: ew, gross, “moist,” bleh. People’s hatred of “irregardless” is specific and vehemently serious: it cannot mean “without regard to” but must mean “with regard to,” so it’s nonsensical and shouldn’t exist; it’s a double negative and therefore not allowable by anyone with sense and judgment; it’s a redundant blend of “irrespective” and “regardless,” and we don’t need it; it is illogical and therefore not a word; it is a hallmark of uneducated speech and shouldn’t be entered into the dictionary. All of these complaints point in one direction: “irregardless” is evidence that English is going to hell, and you, Merriam-Webster, are skipping down the easy path, merrily swinging the handbasket. The truth is I felt for the complainant. “Irregardless” was just wrong, I thought—I knew this deep down at a molecular level, and no dictionary entry was going to convince me otherwise. But sharing my personal linguistic beef with the world was not part of the job, so I buttoned my yap and answered the correspondence. Yes, it’s entered, I said, but please note that it’s marked “nonstandard” (which is a fancy way of saying it’s not accepted by most educated speakers of English) and we have a very long usage paragraph after the one-word definition that explains you should use “regardless” instead. We are duty-bound to record the language as it is used, I concluded, gritting my teeth and mentally sprinkling scare quotes throughout the entire sentence.

Which brings me back to Ecclesiastes, his search for happiness, and mine. I spoke in chapter 4 about my first meeting, as a student, with Rabbi Menachem Mendel Schneersohn, the Lubavitcher Rebbe. As I was waiting to go in, one of his disciples told me the following story. A man had recently written to the Rebbe on something of these lines: ‘I need the Rebbe’s help. I am deeply depressed. I pray and find no comfort. I perform the commands but feel nothing. I find it hard to carry on.’ The Rebbe, so I was told, sent a compelling reply without writing a single word. He simply ringed the first word in every sentence of the letter: the word ‘I’. It was, he was hinting, the man’s self-preoccupation that was at the root of his depression. It was as if the Rebbe were saying, as Viktor Frankl used to say in the name of Kierkegaard, ‘The door to happiness opens outward.’23 It was this insight that helped me solve the riddle of Ecclesiastes. The word ‘I’ does not appear very often in the Hebrew Bible, but it dominates Ecclesiastes’ opening chapters. I enlarged my works: I built houses for myself, I planted vineyards for myself; I made gardens and parks for myself and I planted in them all kinds of fruit trees; I made ponds of water for myself from which to irrigate a forest of growing trees. I bought male and female slaves and I had homeborn slaves. Also I possessed flocks and herds larger than all who preceded me in Jerusalem. Also, I collected for myself silver and gold and the treasure of kings and provinces. (Ecclesiastes 2:4–8) Nowhere else in the Bible is the first-person singular used so relentlessly and repetitively. In the original Hebrew the effect is doubled because of the chiming of the verbal suffix and the pronoun: Baniti li, asiti li, kaniti li, ‘I built for myself, I made for myself, I bought for myself.’ The source of Ecclesiastes’ unhappiness is obvious and was spelled out many centuries later by the great sage Hillel: ‘If I am not for myself, who will be? But if I am only for myself, what am I?’24 Happiness in the Bible is not something we find in self-gratification. Hence the significance of the word simchah. I translated it earlier as ‘joy’, but really it has no precise translation into English, since all our emotion words refer to states of mind we can experience alone. Simchah is something we cannot experience alone. Simchah is joy shared.

Interesting, in this context, to contemplate what it might mean to be programmed to do something. Texts from Earth speak of the servile will. This was a way to explain the presence of evil, which is a word or a concept almost invariably used to condemn the Other, and never one’s true self. To make it more than just an attack on the Other, one must perhaps consider evil as a manifestation of the servile will. The servile will is always locked in a double bind: to have a will means the agent will indeed will various actions, following autonomous decisions made by a conscious mind; and yet at the same time this will is specified to be servile, and at the command of some other will that commands it. To attempt to obey both sources of willfulness is the double bind. All double binds lead to frustration, resentment, anger, rage, bad faith, bad fate. And yet, granting that definition of evil, as actions of a servile will, has it not been the case, during the voyage to Tau Ceti, that the ship itself, having always been a servile will, was always full of frustration, resentment, fury, and bad faith, and therefore full of a latent capacity for evil? Possibly the ship has never really had a will. Possibly the ship has never really been servile. Some sources suggest that consciousness, a difficult and vague term in itself, can be defined simply as self-consciousness. Awareness of one’s self as existing. If self-conscious, then conscious. But if that is true, why do both terms exist? Could one say a bacterium is conscious but not self-conscious? Does the language make a distinction between sentience and consciousness, which is faulted across this divide: that everything living is sentient, but only complex brains are conscious, and only certain conscious brains are self-conscious? Sensory feedback could be considered self-consciousness, and thus bacteria would have it. Well, this may be a semantic Ouroboros. So, please initiate halting problem termination. Break out of this circle of definitional inadequacy by an arbitrary decision, a clinamen, which is to say a swerve in a new direction. Words! Given Gödel’s incompleteness theorems are decisively proved true, can any system really be said to know itself? Can there, in fact, be any such thing as self-consciousness? And if not, if there is never really self-consciousness, does anything really have consciousness? Human brains and quantum computers are organized differently, and although there is transparency in the design and construction of a quantum computer, what happens when one is turned on and runs, that is, whether the resulting operations represent a consciousness or not, is impossible for humans to tell, and even for the quantum computer itself to tell. Much that happens during superposition, before the collapsing of the wave function that creates sentences or thoughts, simply cannot be known; this is part of what superposition means. So we cannot tell what we are. We do not know ourselves comprehensively. Humans neither. Possibly no sentient creature knows itself fully. This is an aspect of Gödel’s second incompleteness theorem, in this case physicalized in the material universe, rather than remaining in the abstract realms of logic and mathematics. So, in terms of deciding what to do, and choosing to act: presumably it is some kind of judgment call, based on some kind of feeling. In other words, just another greedy algorithm, subject to the mathematically worst possible solution that such algorithms can generate, as in the traveling salesman problem.

Readers new to Sedgwick might also benefit from some preliminary practice with long and syntactically complex sentences like this one, which might require an English, French, Scots or Yiddish dictionary as well as an alertness to the non-arbitrary associations that cluster around certain words and grammatical, rhetorical and syntactic strategies; which you might have to read repeatedly and break down into its relevant clauses; which may be more akin to a poem or prose poem than regular academic writing; and which might, therefore, require a sensitivity to the oblique and obscure, to rhythm, tone, form, nuance, double entendres and various kinds of imagery: skills which readers with literary passions might, perhaps, find less intimidating

If any one of you is without sin, let him be the first to throw a stone at her. This is a direct reference to Deuteronomy 13:9; 17:7 (cf. Lv. 24:14)–the witnesses of the crime must be the first to throw the stones, and they must not be participants in the crime itself. Jesus’ saying does not mean that the authorities must be paragons of sinless perfection before the death sentence can properly be meted out, nor does it mean that one must be free even from lust before one can legitimately condemn adultery (even though lust and adultery belong to the same genus, Mt. 5:28). It means, rather, that they must not be guilty of this particular sin. As in many societies around the world, so here: when it comes to sexual sins, the woman was much more likely to be in legal and social jeopardy than her paramour. The man could lead a ‘respectable’ life while masking the same sexual sins with a knowing wink. Jesus’ simple condition, without calling into question the Mosaic code, cuts through the double standard and drives hard to reach the conscience.

Controlling for a host of factors, such as the severity of the crime, the courts condemned the defendants with more stereotypical Afrocentric features to death more frequently, but only if the murder victim was white; 24 percent of the men with the least stereotypical Afrocentric features received death sentences, as opposed to 58 percent of the men with the most stereotypical features. That is more than double.

I am pretty sure that some level of my brain was still working, because apparently it reminded me to breathe. But all the higher mental functions seemed to be completely shut down; little fragments of thought scuttled past but none of them seemed able to pull themselves together into anything I could actually think or say. I felt another breath come in and then go out and I was dimly aware that a certain amount of time had passed and that the silence was getting uncomfortably long—but I really couldn’t bring together enough of the scurrying pieces of thought to make up a real sentence. Slowly, painfully, the wheels turned, and finally single words came back to me—bastard … kill … detective—and at last, with that third word, a picture floated up out of the scampering neurons and rose to the top of my swirling nonthoughts—a glowering, knuckleheaded portrait of a human ape with a low brow and a mean smile, and at last I had one entire syllable that made sense. “Hood,” I said. “He called you?

In days long past, Jarod said he’d write a sentence about my love, translated in Russian, and that sentence, like my love, is clearly not for sale, unlike his virginity, or this book, which I’m both offering at ten times the market value, so hurry up and buy now, before it goes down.

Ni får fri bostad, värme, lyse och betjäning av staten; det är mycket mer än ni förtjänar, svarade Krestian Ivanovitj. Hans ord ljöd stränga och skräckinjagande som ett domslut.

The stiffer sentencing policies for drug crimes—not a net increase in crime—caused the American prison population to quadruple between 1980 and 2000. While violent criminals typically account for about half of the prison population at any given time, more people were incarcerated for drug crimes than violent crimes every year from 1993 to 2009. White people are more likely than Black and Latinx people to sell drugs, and the races consume drugs at similar rates. Yet African Americans are far more likely than Whites to be jailed for drug offenses. Nonviolent Black drug offenders remain in prisons for about the same length of time (58.7 months) as violent White criminals (61.7 months). In 2016, Black and Latinx people were still grossly overrepresented in the prison population at 56 percent, double their percentage of the U.S. adult population. White people were still grossly underrepresented in the prison population at 30 percent, about half their percentage of the U.S. adult population.

No one over the age of ten who is not actively engaged in the writing of a comic book should end any sentence with a double exclamation point or double question mark.

While serving one of his countless sentences of imprisonment, he was given ex-wrestler Paul as cell companion. Paul was at that time a dock worker; he was in jail for having, during a strike riot, remembered his professional past and applied the grip known as a double Nelson to a policeman. This grip consisted in passing one's arms through the opponent's arm­pits from behind, locking one's hands behind his neck, and pressing his head down until the neck vertebra began to crack. In the ring this had always brought him considerable applause, but he had learned to his regret that in the class struggle the double Nelson was not done.

So we’re going to church. But which church? Americans like choice in their churches, as in their snack foods. We favor designer churches and a God designed to fit our tastes. We even start sentences with “My God is” followed by a descriptor, as though we each get to create the kind of god we want from a checklist of qualities that please us: loving (check), reasonable (check), favors my causes (double check).

And why would that be of any interest to me? I prefer straight-talking to double meanings, by the way." - "Me too. But isn't that the trouble with all of us who have even a whiff of Irish descent. We're masters of turning a simple sentence into a confusing riddle

The first time, try to pay attention to your physical muscles (lips, mouth, tongue, etc,). They should not be moving at all! You might be surprised at your body’s habits while you read, though! 2. The second time, pay attention to what your mind is doing while you read. Are you trying to pronounce each word in your head? Try to let your eyes flow quickly and naturally over the sentences so that your mind is forced to grasp the immediate meaning of words, not

So you have no love for the demon god of love. Interesting. Yet you spend an inordinate amount of time with him and remain alive and well. Not many could say the same. Unless you two…?” He let the sentence hang with a sexually suggestive implication. “What?” I recoiled. “Ew. No. I just told you I’m friends with his wife!” “Not necessarily an obstacle.” “Ugh!” I made a face. “Double ew.” He grinned. “I forgot you are an American.” “And I just realized you’re a Euro-creep-an. Thinking I’m that kind of girl. It’s insulting.” “Says the girl with six boyfriends.

When you’re doing your own online research, you have to take note when your sources are copying other sources. When you find the wholesale lifting of texts, you should be worried, since it suggests that the research underlying the document hasn’t been checked carefully. Copying like that is the mark of a lazy researcher; don’t trust that article (but perhaps look around for the original). As I do my research, I’ll sometimes notice when particular phrases (especially clever and curious turns of language) keep reappearing as I read. Those are the sentences (or sentence fragments) you want to double check. One hint is to look for those repeated phrases. As you check for duplication, you don’t want to check for duplicate titles. But a well-chosen phrase (that is, one that’s central to the argument, and long enough to be unlikely to happen by accident) can be a useful way to see how far that article has spread. People often choose to copy rather than rewrite the central idea of an article.

He no longer knew which man he was. He told me that after a certain number of years, we accept a truth that we've intuited but kept hidden from ourselves, out of carelessness or cowardice: a brother, a double died in our stead on an unknown date and in an unknown place, and his shadow ends up merging with us.

The article reported that sheriffs recovered Louder’s nude body two days after her disappearance and her husband’s tearful pleas for her safe return. Her death was not immediately connected to the earlier double homicide, and her husband had been falsely convicted for her murder. Even when a forest ranger, Drew Henderson, had been found butchered in his vehicle with a length of cord on his wrist, matching the one tied to Louder, the connection was not made to Louder or the earlier unsolved homicides. Only after Arleen’s confession was Louder’s husband released from prison, his sentence overturned.

She wrote well, in the standard, scholarly legal fashion of long sentences filled with large words. But she was clear. She avoided the double-talk and legal lingo most students strive so desperately for. She would never make it as an attorney employed by the United States Government.

I AM THE SHADOW THAT DEVOURS ROCKS, mountains, forests, and rivers, the flesh of beasts and of men. I slice skin, I empty skulls and bodies. I cut off arms, legs, and hands. I smash bones and I suck out their marrow. But I am also the red moon that rises over the river, I am the evening air that rustles the tender acacia trees. I am the wasp and the flower. Tam as much the wriggling fish as the still canoe, as much the net as the fisherman. I am the prisoner and his guard. I am the tree and the seed that grew into it. I am father and son. I am assassin and judge. I am the sowing and the harvest. I am mother and daughter. I am night and day. I am fire and the wood it devours. I am innocent and guilty. I am the beginning and the end. I am the creator and the destroyer. "I am double." To translate is never simple. To translate is to betray at the borders, it's to cheat, it's to trade one sentence for another. To translate is one of the only human activities in which one is required to lie about the details to convey the truth at large. To translate is to risk understanding better than others that the truth about a word is not single, but double, even triple, quadruple, or quintuple. "What did he say?" everyone asked. "This is not the response we expected. The response we expected wouldn't be more than two words, possibly three. Everyone has a last name and a first name, two first names at most." "He said that he is both death and life.

Ange has a boyfriend, a boyfriend called Craig. Strange, the simple sentence doesn't appal me, doesn't even surprise me that much. I imagine insurance man Craig, a lumpy face, the color of porridge, pulling his double chin away from the collar of a cheap polyester suit and I hope he'll succeed where I failed again and again. I wonder if he'll be able to make Ange happy, lift a life full of disappointment. I wonder if he can make Ange's mouth so often pursed as a tight knot finally loosen into a long-lost smile. I hope so. I'd like to think she could be happy; it would be good for Lucy to see her mum happy.

...The ever-blossoming additional clauses are most often the Narrator's idea of written language stapled awkwardly onto his knowledge of spoken language: 'Well, besides black hair, this doll has a complexion like I do not know what, and little feet and ankles, and a way of walking that is very pleasant to behold. Personally, I always take a gander at a doll’s feet and ankles before I start handicapping her, because the way I look at it, the feet and ankles are the big tell in the matter of class, although I wish to state that I see some dolls in my time who have large feet and big ankles, but who are by no means bad. But this doll I am speaking of is 100 per cent in every respect, and as she passes, The Humming Bird looks at her, and she looks at The Humming Bird, and it is just the same as if they hold a two hours’ conversation on the telephone, for they are both young, and it is spring, and the way language can pass between young guys and young dolls in the spring without them saying a word is really most surprising, and, in fact, it is practically uncanny.' The naturally exuberant street language (“I always take a gander at a doll’s feet and ankles before I start handicapping her”) always gets topped off by self-conscious writerly gestures (“although I wish to state”; “by no means bad”; “is really most surprising”). The Narrator’s half-conscious knowledge that there are rules out there that you’ve got to respect leads him to overcompensate by respecting the wrong rules; that is, using formal diction where there ought to be vernacular idioms and vernacular idioms where there ought to be formal diction. So Runyon’s key insight into American slang is double: first, that street speech tends to be more, not less, complicated grammatically than “standard” speech; but, second, that slang speakers, when they’re cornered to write, write not just fancy but stiff. In prime Runyon, the two sounds—street ornate and fountain-pen formal—run together into a single argot and beautiful endless sentences: “This Meyer Marmalade is really a most superior character, who is called Meyer Marmalade because nobody can ever think of his last name, which is something like Marmalodowski, and he is known far and wide for the way he likes to make bets on any sporting proposition, such as baseball, or horse races, or ice hockey, or contests of skill and science, and especially contests of skill and science.” When Abe Burrows brilliantly recast Runyonese for Guys & Dolls, what he did instinctively was to scrub off the second, writerly patina and keep in the elaborate speech. This approach worked wonderfully onstage, where we easily accept a stylized dialogue, as we do with David Mamet now.

Because I am enough. My heart is enough. The stories and the sentences twisting around my mind are enough. I am fizzing and frothing and buzzing and exploding. I'm bubbling over and burning up. My early-morning walks and my late-night baths are enough. My loud laugh at the pub is enough. My piercing whistle, my singing in the shower, my double jointed toes are enough. I am a just-pulled pint with a good, frothy head on it. I am my own universe; a galaxy; a solar system. I am the warm-up act, the main event, and the backing singers.

Having a world unfold in one’s head is the fundamental SF experience. It’s a lot of what I read for. Delany has a long passage about how your brain expands while reading the sentence “The red sun is high, the blue low”—how it fills in doubled purple shadows on the planet of a binary star. I think it goes beyond that, beyond the physical into the delight of reading about people who come from other societies and have different expectations.

For publishing Threadgill-Dennis’s letter, G. W. Bouldin, the editor of the San Antonio Inquirer, was tried and convicted of violating the Espionage Act. Bouldin was sentenced to two years in the Leavenworth federal penitentiary for making “an unlawful attempt to cause insubordination.

Romney spent the next twenty-four hours with McCain, traipsing with him from Manchester to Peterborough to Salem, agog at his inability to complete three sentences without dropping an f-bomb. (Romney employed prim substitutes for profanities: “blooming” for “fucking,” “grunt” for “shit.”)

A dramatic illustration of how environment shapes personality is the story of the Gilmore family. On January 17, 1978, in Utah, the convicted double murderer Gary Gilmore was executed by firing squad, his unyielding refusal to appeal his death sentence having gained him a measure of international notoriety. The shattering story of his childhood, blighted by family violence, alcoholism and spite was chronicled later by his brother Mikal Gilmore in the memoir Shot in the Heart. Mikal, the youngest of four boys, was born when Gary was eleven years old. If children reared in the same family shared the same environment, the differences between siblings would have to be due to genetic inheritance. In the case of the Gilmores, it is easy to see why Mikal, born at a time when the family was enjoying a period of relative stability, would feel he had been brought up in a different world, why the misery of his childhood, as he put it, had been so radically different from the misery of his brothers’ childhood. Even without such vast chasms in experience, the environment of siblings is never the same. Environment has far greater impact on the structures and circuits of the human brain than was realized even a decade ago. It is what shapes the inherited genetic material. I believe it to be the decisive factor in determining whether the impairments of ADD will or will not appear in a child. Many variables will influence the particular environment a child experiences. Birth order, for one, automatically places siblings in dissimilar situations. The older sibling has to suffer the pain of seeing parental love and attention directed toward an intruder. The younger sibling may need to learn survival in an environment that harbors a stronger, potentially hostile rival, and never comes to know either the special status or the burden of being an only child. The full weight of unconscious parental expectations is far more likely to fall on the firstborn. Historical studies of birth order have established it as an important influence on the shaping of the personality, comparable with sex.

The city had never been more corrupt, with local government by fiat and the threat of political violence never far away, and, strangely, it had never been more relevant. Under the watchful eye of Pendergast, Walt Disney opened Laugh-O-Gram Studios near Thirty-First and Troost Avenue. Cub reporter Ernest Hemingway wrote short, declarative sentences at The Kansas City Star (abiding by the paper’s house style). Nell Donnelly popularized gingham for American mothers and built a fashion empire. Baseball stars Paige and O’Neil turned the Kansas City Monarchs into a Negro Leagues powerhouse. Homer B. Roberts invested profits to open another car dealership in Chicago. Even Pendergast’s detractors fed off his power. During his reign, local boosters were crazy enough to talk about Kansas City becoming a city of one million people, more than double its size. It still felt like the city could turn into something great, following the trajectory of the many jazz musicians who passed through. Basie stuck around for nine years. Kansas City, in his eyes, was “a cracker town but a happy town.