Shooting Shots Quotes

Atticus said to Jem one day, "I’d rather you shot at tin cans in the backyard, but I know you’ll go after birds. Shoot all the blue jays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird." That was the only time I ever heard Atticus say it was a sin to do something, and I asked Miss Maudie about it. "Your father’s right," she said. "Mockingbirds don’t do one thing except make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corn cribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.

You nearly died today,' he says. 'I almost shot you. Why didn't you shoot me, Tris?' 'I couldn't do that,' I say. 'It would have been like shooting myself.' He looks pained and leans closer to me, so his lips brush mine when he speaks.

The word "good" has many meanings. For example, if a man were to shoot his grandmother at a range of five hundred yards, I should call him a good shot, but not necessarily a good man.

So, now you’re getting shot at, you’re gonna leave me?” “Girlie, I’m from Texas. We shoot at each other to say good morning.

You might get only one shot. So shoot. You know who said that?" The rifle clatters to the bloody floor. "Hanna FUCKING Donnelly. That's who.

You know how to shoot?"- Emma "Yes. My dad taught me everything about gun safety. He was an expert." - Heather "What happened to him?" -Shanna "He was...shot." -Heather

What I told you about saving people isn't true. You might think it is, because you might want someone else to save you, or you might want to save someone so badly. But no one else can save you, not really. Not from yourself. [...] You fall asleep in the foothills, and the wolf comes down from the mountains. And you hope someone will wake you up. Or chase it off. Or shoot it dead. But when you realize that the wolf is inside you, that's when you know. You can't run from it. And no one who loves you can kill the wolf, because it's part of you. They see your face on it. And they won't fire the shot.

I ought to of shot that dog myself, George. I shouldn't ought to of let no stranger shoot my dog.

Eschewing ceremony, Eugenides said, "You shot the ambassador?" "You gave me the gun," protested Sounis. "I didn't mean for you to shoot the ambassador with it!" Eugenides told him. "Oh, how our carefully laid plans go astray," murmured the magus. "You shut up!" said Gen, laughing.

Were you proposing to shoot these people in cold blood, sergeant?" "Nossir. Just a warning shot inna head, sir.

You don't have to shoot me," says the young lion. "I will be your rug and I will lie in front of your fireplace and I won't move a muscle and you can sit on me and toast all the marshmallows you want. I love marshmallows.

Excuses are tools of incompetence used to build bridges to nowhere and monuments of nothingness, and those who use them seldom specialize in anything else.

What would they do to me," he asked in confidential tones, "if I refused to fly them?" We'd probably shoot you," ex-P.F.C. Wintergreen replied. We?" Yossarian cried in surprise. "What do you mean, we? Since when are you on their side?" If you're going to be shot, whose side do you expect me to be on?" ex-P.F.C. Wintergreen retorted

The question is frequently asked: Why does a man become a drug addict? The answer is that he usually does not intend to become an addict. You don’t wake up one morning and decide to be a drug addict. It takes at least three months’ shooting twice a day to get any habit at all. And you don’t really know what junk sickness is until you have had several habits. It took me almost six months to get my first habit, and then the withdrawal symptoms were mild. I think it no exaggeration to say it takes about a year and several hundred injections to make an addict. The questions, of course, could be asked: Why did you ever try narcotics? Why did you continue using it long enough to become an addict? You become a narcotics addict because you do not have strong motivations in the other direction. Junk wins by default. I tried it as a matter of curiosity. I drifted along taking shots when I could score. I ended up hooked. Most addicts I have talked to report a similar experience. They did not start using drugs for any reason they can remember. They just drifted along until they got hooked. If you have never been addicted, you can have no clear idea what it means to need junk with the addict’s special need. You don’t decide to be an addict. One morning you wake up sick and you’re an addict. (Junky, Prologue, p. xxxviii)

A panda walks into a cafe. He orders a sandwich, eats it, then draws a gun and fires two shots in the air. "Why?" asks the confused waiter, as the panda makes towards the exit. The panda produces a badly punctuated wildlife annual and tosses it over his shoulder. "I'm a panda," he says, at the door. "Look it up." The waiter turns to the relevant entry and, sure enough, finds an explanation. Panda. Large black-and-white bear-like mammal, native to China. Eats, shoots and leaves.

I could probably have made the head shot from the railing, but with an unfamiliar gun, it was too risky. I didn't want to accidentally shoot the woman in the head. Killing the hostage is always frowned upon.

My God! The English language is a form of communication! Conversation isn't just crossfire where you shoot and get shot at! Where you've got to duck for your life and aim to kill! Words aren't only bombs and bullets —no, they're little gifts, containing meanings!

You’ve one mark on your record,” Tamas said. “You once punched a na-baron in the face. Broke his jaw. Tell me about that.” Olem grimaced. “Officially, sir, I was pushing him out of the way of a runaway carriage. Saved his life. Half my company saw it.” “With your fist?” “Aye.” “And unofficially?” “The man was a git. He shot my dog because it startled his horse.” “And if I ever have cause to shoot your dog?” “I’ll punch you in the face.” “Fair enough. You have the job.

Everyone who is not happy must be shot.

Are you okay?" Kelly cried. "I shot dinner," Nick said. Kelly snorted. "Look, Hannibal, you can shoot back if they 're shooting at you, but it's still not okay to eat them afterward.

Nothing wrong with shooting...as long as the right people get shot.

A big shot is a little shot who keeps on shooting, so keep trying.

you might get only one shot.so shoot

I’d rather you shot at tin cans in the back yard, but I know you’ll go after birds. Shoot all the bluejays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird.

I’d been staying at the Holiday Inn with my girlfriend, honestly the most beautiful woman I’d even known, for three days under a phony name, shooting heroin. We made love in the bed, ate steaks at the restaurant, shot up in the john, puked, cried, accused one another, begged of one another, forgave, promised, and carried one another to heaven.

If you shoot, I will kill her before I die." Yes," Kitai said in a patient tone. "Which is why I have not shot you. Yet.

If you get shot,” Lira says, “I’m going to treat you like you’re incapable of doing the simplest tasks.” She cradles her arms around her knees to keep out the cold. “See how you like it when I hold out my arm to help you walk, even though you’re not shot in the leg.” “I’d be flattered,” I say, “that you would look for an excuse just to hold my hand.” “Perhaps I’m just looking for an excuse to shoot you.

Don’t come any closer!” Scarlet yelled. The chicken clucked and dawdled away. “I will shoot, you know.” “I know.” A flicker of kindness passed over him and he pointed at his temple. “You’ll want to aim for the head. That usually makes for a fatal shot. Or, if you’re feeling shaky, the torso. It’s a larger target.” “Your head looks pretty big from here.

My new 9mm didn’t fit my hand as well as my old one, but it was rapidly becoming a familiar weight. At first I’d decided it was okay to wear as long as I shot only at supernatural bad guys who were already shooting at me. Lately, I’d had to broaden that definition to anytime my life was in danger. I was currently leaning toward a slightly more comprehensive rule somewhere between proactive self-defense and the-bastards-had-it-coming, which, if I survived long enough, I intended to blame on my deranged partner rubbing off on me.

As a photographer you have a deep love for light, life and yourself. You know that the eyes of love aren’t blind, they are wide open. Only when your eye, heart and soul shine brighter than the sun, you realize how ordinary it is to love the beautiful, and how beautiful it is to love the ordinary.

My dad is here," She hissed, hoping to give Gabriel enough of a head start so he could make it to the elevators before Tom took out one of his hunting rifles and shot him. "I know, I called him." She turned to Gabriel in wide-eyed disbelief. "Why would you do that? He wants to kill you." The Professor pulled himself up to his full height. "I want to marry you. That means that I need to make amends with your father. I want to be able to be in the same room without him attempting to shoot me. Or castrate me.

Why did you shoot him?" "You weren't around," I replied, my teeth gritted in pain. "If you'd been here I'd have shot you instead.

Curran, you can’t bite his face off.” “Yes, I can,” Curran said in a monster voice. “You shouldn’t.” “He stole George’s car. And he shot me.” “He missed.” “He missed, because I’m fast and I moved out of the way. If I bite his head off, he won’t shoot me again.

Wraith snorted. "Cowards. Seriously. Who brings a gun to a knife fight? That's cheating." "You don't have a gun?" Kynan asked. Wraith made a face of digust. "It's not very sporting to shoot people." "So you're saying that you didn't shoot the people who shot you?" "Hell, yeah, I shot them.

Hollis thought he looked like William Burroughs, minus the bohemian substrate (or perhaps the methadone). Like someone who'd be invited quail shooting with the vice-president, though too careful to get himself shot.

I'm sorry, Max." She made a dismissive sound. "Yeah, well, the next time someone tries to shoot you, you're going to have buy me something really nice to make it up to me. Like Australia." "You want me to buy you a trip to Australia?" I asked, thinking that could probably be arranged. "No." Her reply was pert. "I want you to buy me Australia. You can afford it." I snorted. "I don't think it's for sale." "Then I guess that you have no choice but to avoid getting shot at." "I'll be careful," I promised.

Yeah, I like that idea. Maybe he'll shoot at us again. I was hoping someone would shoot at me today. That was the first thing I said when I got up: Boy, I hope I get shot at today.

The director cleared her throat just a few shots in. “Um, so, is there anything you can do about that, Mr Cavendish? This is not an X-rated publication…” James, shameless bastard that he was, seemed completely unfazed. “You’ll just need to shoot me waist up. You were the one who wanted my girlfriend in the shot, putting her hands on me. What did you think was going to happen?

Guys, gals, now hear this: No one wants to take away your hunting rifles. No one wants to take away your shotguns. No one wants to take away your revolvers, and no one wants to take away your automatic pistols, as long as said pistols hold no more than ten rounds. If you can't kill a home invader (or your wife, up in the middle of the night to get a snack from the fridge) with ten shots, you need to go back to the local shooting range.

I was a knight," Andrea said. "I'm not just going to start shooting every dickhead who mouths off to me." "Just making sure." "Besides, if I shot him, I'd do it so nobody could trace it back to me. I'd shoot him somewhere remote, his head would explode like a melon, and they would never find his body. He would just vanish.

You are too late," he cried proudly, "I have shot the Wendy. Peter will be so pleased with me." Overhead Tinker Bell shouted "Silly ass!" and darted into hiding.

I brought you this." Gale holds up a sheath. When I take it, I notice it holds a single, ordinary arrow. "It's supposed to be symbolic. You firing the last shot of the war." "What if I miss?" I say. "Does Coin retrieve it and bring it back to me? Or just shoot Snow through the head herself?" "You won't miss." Gale adjusts the sheath on my shoulder. We stand there, face-to-face, not meeting each other's eyes. "You didn't come see me in the hospital." He doesn't answer, so finally I just say it. "Was it your bomb?" "I don't know. Neither does Beetee," he says. "Does it matter? You'll always be thinking about it." He waits for me to deny it; I want to deny it, but it's true. Even now I can see the flash that ignites her, feel the heat of the flames. And I will never be able to separate that moment from Gale. My silence is my answer. "That was the one thing I had going for me. Taking care of your family," he says. "Shoot straight, okay?" He touches my cheek and leaves. I want to call him back and tell him that I was wrong. That I'll figure out a way to make peace with this. To remember the circumstances under which he created the bomb. Take into account my own inexcusable crimes. Dig up the truth about who dropped the parachutes. Prove it wasn't the rebels. Forgive him. But since I can't, I'll just have to deal with the pain.

What could be worse than dead? But all around him, the evidence was clear. Only weeks before, the NYPD had shot down a fifteen-year-old black boy, a student, for next to nothing. The shooting had started the riots, pitting young black men and some black women against the police force. The news made it sound like the fault lay with the blacks of Harlem. The violent, the crazy, the monstrous black people who had the gall to demand that their children not be gunned down in the streets.

What are you doing?" Angela complained. "Are you trying to make me jog? You know I think people who jog should be shot at midday." "Why at midday?" Kami asked absently. "There's no need to ever get up at dawn," Angela told her. "Not even to shoot joggers.

We have a few chicken-shit senators who are afraid of the NRA and its ilk, but with the right tweaks, I still think you have a shot . . .

Most of my friends are into strange things I don't really understand - and with a few shameful exceptions I wish them all well. Who am I, after all, to tell some friend he shouldn't change his name to Oliver High, get rid of his family, and join a Satanism cult in Seattle? Or to argue with another friend who wants to buy a single-shot Remington Fireball so he can go out and shoot cops from a safe distance?

First you shoot me,” he muttered. “Now you’re handin’ me your damn club and spoutin’ love poems.” “She was sixteen, motherfucker, you woulda shot you.” “No, asshole, I woulda killed me.” At that, Preacher just kept grinning. Jesus, was he in the twilight zone?

You fall asleep in the foothills, and the wolf comes down from the mountains. And you hope someone will wake you up. Or chase it off. Or shoot it dead. But when you realize that the wolf is inside you, that's when you know. You can't run from it. And no one. who loves you can kill the wolf, because it's part of you. They see you face on it. And they won't fire the shot.

Why are people that poor? Why are people that broke? Why are people that food insecure, that clothing insecure, that they feel like their only shot, that they are shooting their shot by walking through a broken glass window to get what they need?

You gotta shoot your shot when it comes...Who knows if you'll get another chance?

That Kevin Burns, the one on television, is easy to hate, even to despise. He shot and tried to kill my son. He killed nine people. This Kevin Burns, a helpless child in prison garb and cuffs, looks meek and terrified, especially in the backdrop of a jail complex and cell, with two giant guards escorting him into the deposition room. 

Venus of Eryx, from her mountain throne, Saw Hades and clasped her swift-winged son, and said: 'Cupid, my child, my warrior, my power, Take those sure shafts with which you conquer all, And shoot your speedy arrows to the heart Of the great god to whom the last lot fell When the three realms were drawn. Your mastery Subdues the gods of heaven and even Jove, Subdues the ocean's deities and him, Even him, who rules the ocean's deities. Why should Hell lag behind? Why not there too Extend your mother's empire and your own....? Then Cupid, guided by his mother, opened His quiver of all his thousand arrows Selected one, the sharpest and the surest, The arrow most obedient to the bow, And bent the pliant horn against his knee And shot the barbed shaft deep in Pluto's heart.

[They shoot, Greedo dies. [To innkeeper:] Pray, goodly Sir, forgive me for the mess. [Aside:] And whether I shot first, I’ll ne’er confess! [Exeunt.

Dear Logan, I'm sorry that the stupid Russians shot you. Mainly because I really want to shoot you, and I hate that they beat me to it. Maddie

There’s no way the person who made these lists actually has kids. They should be shot. And at this moment, I would defend the person who shoots them, pro bono. Just saying.

Big shots are just little shots that keep shooting.

A solider always assumes that he is going to shoot, not to be shot.

Her heart literally stopped and she felt her fight-or-flight mode kick in. Part of her wanted to hide and cry, while the other part of her wanted to reach for her 9mm and shoot the bastard.

It felt as if maybe the curse had lifted, the tide had shifted, but then the breeze picked up and a skeet took a very unfortunate turn. Seconds later, Angus was pulling his shot far to the right, shooting a large hole in the second-story galley not ten feet above Marcus's head.

The thing is that most of the people arrested in this country are white. Most of the people who shoot cops aren’t black. So what is it that makes cops think and act extra aggressively toward black people?

Who shot you?" For a moment he looked annoyed. "I fail to see what that's got to do with anything. Reading assures me that anyone who's ever met me would have reason to shoot me, so I must admit with all candor that I have no idea. Was it you?" "If I'd shot you I wouldn't have missed," she said. "Was that wishful thinking or are you in fact a practiced shot?" "Desire would have made up for lack of expertise.

Lady, did you ever see anyone shot by a gun without bleeding?” This film came out at the height of the Vietnam War. I love that line. That’s gotta be one of the principles behind reality. Accepting things that are hard to comprehend, and leaving them that way. And bleeding. Shooting and bleeding.

Cops don’t usually shoot people holding books, but you never know what might “look like a gun.

You’re not leaving. I told you that.” She worked to keep the calm in her tone to counter his fury. “I’m going to shoot.” “It’s time to put your gun down, Noah.” “His blood will be on you.” Rook made eye contact with her and mouthed, Shoot. Him. She had no shot and said so with the smallest head shake.

EAMES: Shouldn't be afraid to dream a little bigger, Arthur- Eames lines up a shot with a grenade launcher. Fires- the sniper EXPLODES into the air- Arthur looks at Eames. EAMES: Shall we?

Like my father I've always been a daydreamer, and sometimes I'd imagine that on the way home a terrorist might jump out and shoot me on those steps. I wondered what I would do. Maybe I'd take off my shoes and hit him, but then I'd think if I did that there would be no difference between me and a terrorist. It would be better to plead, "OK, shoot me, but first listen to me. What you are doing is wrong. I'm not against you personally, I just want every girl to go to school.

People in the West like to shoot things. When they first got to the West they shot buffalo. Once there were 70 million buffalo on the plains and then the people of the West started blasting away at them. Buffalo are just cows with big heads. If you've ever looked a cow in the face and seen the unutterable depths of trust and stupidity that lie within, you will be able to guess how difficult it must have been for people in the West to track down buffalo and shoot them to pieces. By 1895, there were only 800 buffalo left, mostly in zoos and touring Wild West shows. With no buffalo left to kill, Westerners started shooting Indians. Between 1850 and 1890 they reduced the number of Indians in America from two million to 90,000. Nowadays, thank goodness, both have made a recovery. Today there are 30,000 buffalo and 300,000 Indiands, and of course you are not allowed to shoot either, so all the Westerners have left to shoot at are road signs and each other, both of which they do rather a lot. There you have a capsule history of the West.

So, yes, the Taliban have shot me. But they can only shoot a body. They cannot shoot my dreams, they cannot kill my beliefs, and they cannot stop my campaign to see every girl and every boy in school.

Annie, last year.... That day in the yard.... I made a mistake not strapping on a gun the minute I found you, and it wasn't that I was against marrying you, it was that I was against letting them make me do anything. So they almost killed Foxface and threatened to shoot the horses, and I gave in. But they could have shot everything in five miles to pieces and couldn't have made me crawl." A tremor passed through her, but he continued. "That was last year. Now if somebody pointed a gun at you, really could hurt you, I'd crawl on my belly or my knees or do anything else. Maybe that's part of why loving is frightening. I'd rather pay the price and have you than be invincible because I have nothing.

Don’t shoot at people unless you’re ready to be shot.

I wrote about the Thai sex industry and people ask me how many bar-girls I slept with. I've just completed a short story about a High School shooting but nobody thinks I shot anyone.

The shot doesn't come. He stares at me with the same ferocity but doesn't move. Why doesn't he shoot me? His heart pounds against my palms,and my own heart lifts. He is Divergent. He can fight this simulation.Any simulation. "Tobias," I say. "It's me." I step forward and wrap my arms around him. His body is stiff. His heart beats faster. I can feel it against my cheek. A thud against my cheek. A thud as the gun hits the floor.He grabs my shoulders-too hard, his fingers digging into my skin where the bullet was. I cry out as he pulls me back. Maybe he means to kill me in some crueler way. "Tris," he says,and it's him again. His mouth collides with mine. His arm wraps around me and he lifts me up, holding me against him, his hands clutching at my back. His face and the back of his neck are slick with sweat, his body is shaking,and my shoulder blazes with pain,but I don't care,I don't care,I don't care. He sets me down and stares at me, his fingers brushing over my forehead, my eyebrows,my cheeks, my lips. Something like a sob and a sigh and a moan escapes him,and he kisses me again. His eyes are bright with tears. I never thought I would see Tobias cry. It makes me hurt. I pull myself to his chest and cry into his shirt. All the throbbing in my head comes back,and the ache in my shoulder,and I feel like my body weight doubles.I lean against him, and he supports me. "How did you do it?" I say. "I don't know," he says. "I just hear your voice.

The voyage from San Francisco to Hawaii had been the most terrifying experience Greer and Cameron had ever gone through, even more terrible than the time they shot a deputy sheriff in Idaho ten times and he wouldn't die and Greer finally had to say to the deputy sheriff, "Please die because we don't want to shoot you again". And the deputy sheriff had said, "Ok, I'll die, but don't shoot me again". "We won't shoot you again", Cameron had said. "Ok, I'm dead", and he was.

Way back when the Sam Peckinpah film The Wild Bunch premiered, a woman journalist raised her hand at the press conference and asked the following: “Why in the world do you have to show so much blood all over the place?” She was pretty worked up about it. One of the actors, Ernest Borgnine, looked a bit perplexed and fielded the question. “Lady, did you ever see anyone shot by a gun without bleeding?” This film came out at the height of the Vietnam War. I love that line. That’s gotta be one of the principles behind reality. Accepting things that are hard to comprehend, and leaving them that way. And bleeding. Shooting and bleeding.

My father says--used to say-- that there is power in self-sacrifice. I turn the gun in my hands and press it into Tobias's palm. He pushes the barrel into my forehead. My tears have stopped and the air feels cold as it touches my cheeks. I reach out and rest my hand on his chest so I can feel his heartbeat. At least his heartbeat is still him. THe bullet clicks into the chamber. Maybe it will be easy to let him shoot me as it was in the fear landscape, as it is in my dreams. Maybe it will be a bang, and the lights will lift, and I will find myself in another world. I stand still and wait. Can I be forgiven for all I've done to get here? I don't know. I don't know. Please. THE SHOT DOESN'T come. He stares at me with the same ferocity but doesn't move. Why doesn't he shoot me? His heart pounds against my palm, and my own heart lifts. He is divergent. He can fight this stimulation. Any simulation. "Tobias," I say. "It's me." I step forward and wrap my arms around him. His body is stiff. His heart beats faster. I can feel it against my cheek. A thud against my cheek. A thud as the gun hits the floor. He grabs my shoulders--- too hard, his fingers digging into my skin where the bullet was. I cry out as he pulls me back. Maybe he means to kill me in a crueler way. "Tris," he says, and it's him again. His mouth collides with mine. His arm wraps around me and he lifts me up, holding me against him...

SCENE: Apollo jogs along the beachfront, shooting arrows backwards from his golden bow. He's followed by campers dressed in combat gear, jogging in military formation. APOLLO: I don't know but I've been told! CAMPERS: We don't know but we've been told! APOLLO: The sun god's got a bow of gold! CAMPERS: The sun god's got a bow of gold! APOLLO: He's the best shot in the land! CAMPERS: He's the best shot in the land! APOLLO: Augh! [Apollo trips and lands on his backside] I've fallen in the sand! CAMPERS [jogging circles around him]: Augh! He's fallen in the sand! APOLLO: I meant to do that, so don't laugh! CAMPERS: He meant to do that, so don't laugh! APOLLO [tries to get up but falls back again]: Ow! I hurt my godly calf! CAMPERS: Ow! He hurt his godly calf! APOLLO [glowering and starting to glow]: If you want to live another day ... CAMPERS: If we want to live another day ... APOLLO [radiating brighter]: STOP REPEATING WHAT I SAY! CAMPERS: STOP - um... - Military cadence written, chanted and abruptly ended by Apollo Best. Scene. Ever. - P. J.

Photoshop and Lightroom help me transform my photos into what my heart felt, but my camera couldn't quite capture!

I was telling my wife a story about a rich man who was curious, too. He shot himself just to find out what comes after death. Ha, ha, ha! That's the height of curiosity, isn't it? Shooting yourself to find out what comes after death!

So, yes, the Taliban have shot me. But they can only shoot a body. They cannot shoot my dreams, they cannot kill my beliefs and they cannot stop my campaign to see every girl and every boy in school.

Maybe I’d take off my shoes and hit him, but then I’d think if I did that there would be no difference between me and a terrorist. It would be better to plead, ‘OK, shoot me, but first listen to me. What you are doing is wrong. I’m not against you personally, I just want every girl to go to school.

He hated weapons, and not just because they'd so often been aimed at him. You got into more trouble if you had a weapon. People shot you instantly if they thought you were going to shoot them. But if you were unarmed, they often stopped to talk. Admittedly, they tended to say things like, "You'll never guess what we're going to do to you, pal," but that took time. And Rincewind could do a lot with a few more seconds. He could use them to live longer in.

If you really have to get shot, Belfast is one of the best places to do it. After twenty years of the Troubles, and after thousands of assassination attempts and punishment shootings, Belfast has trained many of the best gunshot-trauma surgeons in the world.

I’ve never shot like that in my life. That’s unholy.” Uncle Cal claimed credit for teaching her to shoot, but while Margo had felt his guidance, she had felt just as strongly the guidance of the gun itself. It held her steady, and then sadness perfected her aim.

Mercury dropped the purple car and shot up into the air, whistling like a shooting star. The woman in the car next to me looked up at me like I was a superhero. I smiled at her and jumped down, trying to be smooth. I landed wrong and went sliding on my face. I glanced back at her. She appeared less impressed than before.

One of the worst incidents of that era caused no complaints at all: this was a sort of good-natured firepower demonstration, which occured one Sunday morning about three-thirty. For reasons that were never made clear, I blew out my back windows with five blasts of a 12 gauge shotgun, followed moments later by six rounds from a .44 Magnum. It was a prolonged outburst of heavy firing, drunken laughter, and crashing glass. Yet the neighbors reacted with total silence. For a while I assumed that some freakish wind pocket had absorbed all the noise and carried it out to sea, but after my eviction I learned otherwise. Every one of the shots had been duly recorded on the gossip log. Another tenant in the building told me the landlord was convinced, by all the tales he'd heard, that the interior of my apartment was reduced to rubble by orgies, brawls, fires, and wanton shooting. He had even heard stories about motorcycles being driven in and out the front door.

Ella finished her burger and dug into a side of fries. Hi watched, enraptured. She couldn't help but notice. “Would you like one?” “What? Sure.” Hi smiled, made no move. After a moment, Ella nudged the bowl his way. “Careful, they're still hot.” “Oh, no problem.” Hi fumbled for a fry. “I like food that's hot.” I caught Shelton slowly shaking his head. “Oh, shoot!” Ella winced. “I forgot to stop by the office. My mother had to drop off my shin guards.” She slid her fries over to Hi. “Enjoy. They're hot, which apparently you like.” “Got that right. Hot hot hot!” Hi awkwardly shoved another fry into his mouth. “Okay, wow.” Ella gathered her things, then brushed my cheek with a kiss. “Later, Tor.” Shouldering her bag, she hurried from the cafeteria. A loud thunk drew my attention back to the table. Hi's forehead was resting on his tray. “Tell me that wasn't as bad as I think.” “Worse,” Shelton said. “So, so much worse.” Then head rose, then thunked back down. “I don't remember parts. I think I lost time.” I patted his shoulder. “That's probably for the best.” “Such.” Thunk. “A.” Thunk. “Dumbass.” Thunk. Shelton laughed nervously. “See? That's why I don't talk.” Hi's face shot up. “Tell her I have brain seizures. A serious medical condition. Or that I have an evil twin who sometimes takes my place, but can't talk for crap.” “Got it," I promised. His head dropped once more.

Still, its width is small enough that I’m tempted to give Riden a slight push. As if sensing this, he says, “Don’t even think about it.” “I already did.” “I could have you shot.” “Your gun would have a hard time working once it’s wet.” “I didn’t say I had to be the one to shoot.” “But let’s face it, you’d like that pleasure for yourself.” He smiles.

By the following morning, Anthony was drunk. By afternoon, he was hungover. His head was pounding, his ears were ringing, and his brothers, who had been surprised to discover him in such a state at their club, were talking far too loudly. Anthony put his hands over his ears and groaned.Everyone was talking far too loudly. “Kate boot you out of the house?” Colin asked, grabbing a walnut from a large pewter dish in the middle their table and splitting it open with a viciously loud crack. Anthony lifted his head just far enough to glare at him. Benedict watched his brother with raised brows and the vaguest hint of a smirk. “She definitely booted him out,” he said to Colin. “Hand me one of those walnuts, will you?” Colin tossed one across the table. “Do you want the crackers as well?” Benedict shook his head and grinned as he held up a fat, leather-bound book. “Much more satisfying to smash them.” “Don’t,” Anthony bit out, his hand shooting out to grab the book, “even think about it.” “Ears a bit sensitive this afternoon, are they?” If Anthony had had a pistol, he would have shot them both, hang the noise. “If I might offer you a piece of advice?” Colin said, munching on his walnut. “You might not,” Anthony replied. He looked up. Colin was chewing with his mouth open. As this had been strictly forbidden while growing up in their household, Anthony could only deduce that Colin was displaying such poor manners only to make more noise. “Close your damned mouth,” he muttered. Colin swallowed, smacked his lips, and took a sip of his tea to wash it all down. “Whatever you did, apologize for it. I know you, and I’m getting to know Kate, and knowing what I know—” “What the hell is he talking about?” Anthony grumbled. “I think,” Benedict said, leaning back in his chair, “that he’s telling you you’re an ass.” “Just so!” Colin exclaimed. Anthony just shook his head wearily. “It’s more complicated than you think.” “It always is,” Benedict said, with sincerity so false it almost managed to sound sincere. “When you two idiots find women gullible enough to actually marry you,” Anthony snapped, “then you may presume to offer me advice. But until then ...shut up.” Colin looked at Benedict. “Think he’s angry?” Benedict quirked a brow. “That or drunk.” Colin shook his head. “No, not drunk. Not anymore, at least. He’s clearly hungover.” “Which would explain,” Benedict said with a philosophical nod, “why he’s so angry.” Anthony spread one hand over his face and pressed hard against his temples with his thumb and middle finger. “God above,” he muttered. ‘‘What would it take to get you two to leave me alone?” “Go home, Anthony,” Benedict said, his voice surprisingly gentle.

The Man He Killed Had he and I but met By some old ancient inn, We should have set us down to wet Right many a nipperkin! But ranged as infantry, And staring face to face, I shot at him as he at me, And killed him in his place. I shot him dead because— Because he was my foe, Just so: my foe of course he was; That's clear enough; although He thought he'd 'list, perhaps, Off-hand like—just as I— Was out of work—had sold his traps— No other reason why. Yes; quaint and curious war is! You shoot a fellow down You'd treat, if met where any bar is, Or help to half a crown.

I'd rather you shot at tin cans in the back yard, but i know you'll go after birds. Shoot all the bluejays you want, if you can hit 'em, but remember it's a sin to kill a mockingbird..... Mockingbirds don't do one thing to but make music for us to enjoy. They don't eat up people's garden, don't nest in corncribs,they don't do one thing but sing their hearts out for us. That's why it's a sin to kill a mockingbird.

Will you ever forgive me? " I shot back, leveling my gaze directly into his eyes. He stared into them for a few moments and then got up silently and headed for the door. He didn't turn around when he reached it. Just grabbed the doorknob and held it. "No," he said, without facing me. "Maybe it makes me a bad parent, but I don't know if I can. No matter what the police found, you were involved in that shooting, Valerie. You wrote those names on that list. You wrote my name on that list. You had a good life here. You may not have pulled the trigger, but you helped cause the tragedy." Hate List

Big shots are only little shots who keep shooting.

After this drive I need a drink! Then again, maybe that’s not why I need a shot of tequila. You should shoot to feel, to experience, and to remember not to forget. I

I shot all the bad, but damn it all, I shot all the good as well. That's something you never quite come back from. That's something that's a fresh pain every day.

Rifles are for people who are going out to do shooting. But a man carrying a pistol—he’s worried about getting shot at.

We hate Simple Minds. They were no.1 in our Top Five Bands or Musicians who will have to be shot come the musical revolution (Michael Bolton, U2, Bryan Adams, and, surprise surprise, Genesis were tucked in behind them. Berry wanted to shoot The Beatles, but I pointed out that someone had already done it.

STEVE CARELL IS NICE BUT IT IS SCARY It has been said many times, but it is true: Steve Carell is a very nice guy. His niceness manifests itself mostly in the fact that he never complains. You could screw up a handful of takes outside in 104-degree smog-choked Panorama City heat, and Steve Carell’s final words before collapsing of heat stroke would be a friendly and hopeful “Hey, you think you have that shot yet?” I’ve always found Steve gentlemanly and private, like a Jane Austen character. The one notable thing about Steve’s niceness is that he is also very smart, and that kind of niceness has always made me nervous. When smart people are nice, it’s always terrifying, because I know they’re taking in everything and thinking all kinds of smart and potentially judgmental things. Steve could never be as funny as he is, or as darkly observational an actor, without having an extremely acute sense of human flaws. As a result, I’m always trying to impress him, in the hope that he’ll go home and tell his wife, Nancy, “Mindy was so funny and cool on set today. She just gets it.” Getting Steve to talk shit was one of the most difficult seven-year challenges, but I was determined to do it. A circle of actors could be in a fun, excoriating conversation about, say, Dominique Strauss-Kahn, and you’d shoot Steve an encouraging look that said, “Hey, come over here; we’ve made a space for you! We’re trashing Dominique Strauss-Kahn to build cast rapport!” and the best he might offer is “Wow. If all they say about him is true, that is nuts,” and then politely excuse himself to go to his trailer. That’s it. That’s all you’d get. Can you believe that? He just would not engage. That is some willpower there. I, on the other hand, hear someone briefly mentioning Rainn, and I’ll immediately launch into “Oh my god, Rainn’s so horrible.” But Carell is just one of those infuriating, classy Jane Austen guys. Later I would privately theorize that he never involved himself in gossip because—and I am 99 percent sure of this—he is secretly Perez Hilton.

They laid me down again while somebody fetched a stretcher. As soon as I knew that the bullet had gone clean through my neck I took it for granted that I was done for. I had never heard of a man or an animal getting a bullet through the middle of the neck and surviving it. The blood was dribbling out of the comer of my mouth. ‘The artery's gone,’ I thought. I wondered how long you last when your carotid artery is cut; not many minutes, presumably. Everything was very blurry. There must have been about two minutes during which I assumed that I was killed. And that too was interesting—I mean it is interesting to know what your thoughts would be at such a time. My first thought, conventionally enough, was for my wife. My second was a violent resentment at having to leave this world which, when all is said and done, suits me so well. I had time to feel this very vividly. The stupid mischance infuriated me. The meaninglessness of it! To be bumped off, not even in battle, but in this stale comer of the trenches, thanks to a moment's carelessness! I thought, too, of the man who had shot me—wondered what he was like, whether he was a Spaniard or a foreigner, whether he knew he had got me, and so forth. I could not feel any resentment against him. I reflected that as he was a Fascist I would have killed him if I could, but that if he had been taken prisoner and brought before me at this moment I would merely have congratulated him on his good shooting. It may be, though, that if you were really dying your thoughts would be quite different.

Hey, honey? See the net? Yeah, it would help if you shoot the puck inside of it. Outside doesn’t count, ’kay?” I smack his ass as I skate past him and get in the team box. “You’ll pay for that later,” he says as he takes his spot next to me. I’m counting on it.

film crew up there, enraptured by the charming rodents. The crew had come to shoot a documentary about the massacre; they had expected teen angst and American social Darwinism. They were seduced by the tranquillity—less than a hundred yards from the school. They shot hours of footage of the twelve-inch prairie dogs. The Japanese crew saw this place somewhat differently than Americans did. Their depiction was by turns tumultuous, brutal, explosive, and serene.

I will shoot, you know.” “I know.” A flicker of kindness passed over him and he pointed at his temple. “You’ll want to aim for the head. That usually makes for a fatal shot. Or, if you’re feeling shaky, the torso. It’s a larger target.” “Your head looks pretty big from here.” He laughed—the expression changing everything about him. His

The less gear you use, the more you grow as a photographer. Although there are fewer options available, you'll find more creative ways to capture what you feel! In a way, all your technical options before turn into creative solutions that improve your photography even more.

Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour--landing at the other end without a single hairpin in one's hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard... But after life. The slow pulling down of thick green stalks so that the cup of the flower, as it turns over, deluges one with purple and red light. Why, after all, should one not be born there as one is born here, helpless, speechless, unable to focus one's eyesight, groping at the roots of the grass, at the toes of the Giants?

We already have the Wooden Pillar, the Steel Pillar and the Plastic Pillar. In a moment we will have the Golden Bail....' No, you won't.' We will,' stated the robot simply. No, you won't. It makes my ship work.' In a moment,' repeated the robot patiently, 'we will have the Golden Bail....' You will not,' said Zaphod. And then we must go,' said the robot, in all seriousness, 'to a party.' Oh,' said Zaphod, startled, 'can I come?' No,' said the robot, 'we are going to shoot you.' Oh, yeah?' said Zaphod, waggling his gun. Yes,' said the robot, and they shot him. Zaphod was so surprised that they had to shoot him again before he fell down. (85-86)

I lie in a bathtub of cold water, still sweating and singing love songs to myself. I put the gun to my head and cock it. I think of my Grandma and remember that old feeling of being so in love that nothing matters except seeing and being seen by her. I drop the gun to my chest. I'm so sad and I can't really see a way out of what I'm feeling but I'm leaning on memory for help. Faster. Slower. I think I want to hurt myself more than I'm already hurting. I'm not the smartest boy in the world by a long shot, but even in my funk I know that easy remedies like eating your way out of sad, or fucking your way out of sad, or lying your way out of sad, or slanging your way out of sad, or robbing your way out of sad, or gambling your way out of sad, or shooting your way out of sad, are just slower, more acceptable ways for desperate folks, and especially paroled black boys in our country, to kill ourselves and others close to us in America.

the shooting and killing weren’t as black-and-white as most people think. The actions live in that hazy area of blown-apart stone walls and hesitations. Sometimes I shot when I shouldn’t have; other times I didn’t shoot when I should have. There was no way to explain why I did either. Everything happened so fast. Decisions had to be made. After I got home I began to see things in slow motion, see the actions that might’ve been mistakes.

He looked at the boy. You wont shoot, he said. That’s what you think. You aint got but two shells. Maybe just one. And they’ll hear the shot. Yes they will. But you wont. How do you figure that? Because the bullet travels faster than sound. It will be in your brain before you can hear it. To hear it you will need a frontal lobe and things with names like colliculus and temporal gyrus and you wont have them anymore. They’ll just be soup.

Morelli was wearing a blazer over a black knit shirt, He took a seat, and his jacket swung wide, exposing the gun at his hip. "Nice piece!" Grandma said. "What is it? Is that a forty-five?" "It's a nine- millimeter." "Don't suppose you'd let me see it," Grandma said. "I'd sure like to get the feel of a gun like that." "No!" said everyone in unison. "I shot a chicken once," Grandma explained to Morelli. "It was an accident." "Where did you shoot it?" he finally asked. "In the gumpy," Grandma said. "Shot it clear off.

It was an old hunter in camp and the hunter shared tobacco with him and told him of the buffalo and the stands he'd made against them, laid up in a sag on some rise with the dead animals scattered over the grounds and the herd beginning to mill and the riflebarrel so hot the wiping patches sizzled in the bore and the animals by the thousands and the tens of thousands and the hides pegged out over actual square miles of ground the teams of skinners spelling one another around the clock and the shooting and shooting weeks and months till the bore shot slick and the stock shot loose at the tang and their shoulders were yellow and blue to the elbow and the tandem wagons groaned away over the prairie twenty and twenty-two ox teams and the flint hides by the hundred ton and the meat rotting on the ground and the air whining with flies and the buzzards and ravens and the night a horror of snarling and feeding with the wolves half-crazed and wallowing in the carrion. I seen Studebaker wagons with six and eight ox teams headed out for the grounds not hauling a thing but lead. Just pure galena. Tons of it. On this ground alone between the Arkansas River and the Concho there were eight million carcasses for that's how many hides reached the railhead. Two years ago we pulled out from Griffin for a last hunt. We ransacked the country. Six weeks. Finally found a herd of eight animals and we killed them and come in. They're gone. Ever one of them that God ever made is gone as if they'd never been at all. The ragged sparks blew down the wind. The prairie about them lay silent. Beyond the fire it was cold and the night was clear and the stars were falling. The old hunter pulled his blanket about him. I wonder if there's other worlds like this, he said. Or if this is the only one.

I am so sick and tired of seeing a black person shot in the back, shot dead, followed by people saying, “Not all cops are bad.” You know how many lawyers get disbarred every year? But you never hear, “Not all lawyers are bad.” You know how many doctors lose their medical licenses? But you never hear anybody talking about, “Not all doctors are bad.” Police departments are filthy. If I pay a lawyer, I don’t expect him to sue me. If I go to a doctor, he’s not supposed to give me a disease. But we pay taxes so cops will protect us, and they shoot us instead—and the response is, “Not all cops are bad”? And still we think we’re part of America.

As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I've tried my whole life simply to accept the images that present themselves to me without trying to analyze them. I remember when we were shooting That Obscure Object of Desire in Seville and I suddenly found myself telling Fernando Rey, at the end of a scene, to pick up a big sack filled with tools lying on a bench, sling it over his shoulder, and walk away. The action was completely irrational, yet it seemed absolutely right to me. Still, I was worried about it, so I shot two versions of the scene: one with the sack, one without. But during the rushes the following day, the whole crew agreed that the scene was much better with the sack. Why? I can't explain it, and I don't enjoy rummaging around in the cliches of psychoanalysis.

It was an interesting dilemma and pointed up a real point of difference between Nazism and Communism as forms of government: there was no room for the individual in Soviet Russia; conversely not everything was state-managed in Germany. The Nazis never shot anyone for being stupid, inefficient or just plain unlucky. Generally speaking the Nazis looked for a reason to shoot you, the commies were quite happy to shoot you without any reason at all - but when you're going to be shot, what's the difference?

I’m gathering Kylie thinks that all it takes to capture an image is to point and shoot. That’s what everyone thinks. But there’s a lot more to it. It’s taken me years to frame things correctly. People assume you can’t take good pictures on an iPhone, but they’re wrong. Some of my best shots are on the phone. They’re raw and simple, and most of the time no one knows you’re taking a picture. It’s much better than the thousand-dollar Nikon my dad got me for Christmas. I don’t think I’ve used it in months.

Under the banner headline WILLIAMS CHARGED IN SLAYING, the story was very brief. It said that at 3:00 A.M., police had been summoned to Mercer House, where they found Danny Hansford, twenty-one, lying dead on the floor in the study, his blood pouring out onto an oriental carpet. He had been shot in the head and chest. There were two pistols at the scene. Several objects in the house had been broken. Williams had been taken into custody, charged with murder, and held on $25,000 bond. Fifteen minutes later, a friend of Williams had arrived at police headquarters with a paper bag containing 250 one-hundred-dollar bills, and Williams was released. That was all the newspaper said about the shooting. Williams was identified as an antiques dealer, a restorer of historic houses, and a giver of elegant parties at his “showplace” home, which Jacqueline Onassis had visited and offered to buy for $2 million. About Danny Hansford, the paper gave no information other than his age

It is the considered belief of the writer of this book that wars are fought by the finest people that there are, or just say people, although, the closer you are to where they are fighting, the finer people you meet; but they are made, provoked and initiated by straight economic rivalries and by swine that stand to profit from them. I believe that all the people who stand to profit by a war and who help provoke it should be shot on the first day it starts by accredited representatives of the loyal citizens of their country who will fight it. The author of this book would be very glad to take charge of this shooting.

Meredith's father, the composer, who shot himself in this house. Came all the way from Vienna to shoot himself in LA. Escaped the Nazis but not himself.

But there’s an unscripted kind of magic in shooting from my heart. I follow my instincts, not a meticulously planned brief. And, sure, some of the shots aren’t any good, and they’re far from flawless, but even the mediocre images are rich with emotion. Photos of Nan. The water. Charlie’s yellow boat flying across the bay. Memories of this second golden summer.

Biggest case we've had here in five years was when Dan Schwartz got drunk and shot up his own trailer, then he went on the run, down Main Street, in his wheelchair, waving this darn shotgun, shouting that he would shoot anyone that got in his way, that no one would stop him from getting to the interstate. I think he was on his way to Washington to shoot the president. I still laugh whenever I think of Dan heading down the interstate in that wheelchair of his with the bumper sticker on the back. My Juvenile Delinquent Is Screwing Your Honor Student.

Luisa was on her knees on the bed, naked, my 9mm in her hands and aimed right at me. I automatically had my gun pointed back at her. The sexiest Mexican standoff I’d ever been involved in. “What are you doing?” I asked, taking a cautious step toward her, not lowering my gun for a second. “Leaving,” she answered, her eyes hard. She was distracting as all hell, her tits and pussy and that gun. I don’t think I’d ever been so turned on so quick and in such an untimely situation. “It doesn’t look like it.” “I’m going to ask you nicely to let me leave, and if you don’t, I’ll shoot you.” A grin broke out across my face. My god, she couldn’t be more perfect. “If you shot me, you’d kill me,” I said, taking another step. “Then who would make you come all the time?

Suicide by train is also popular in many developed countries. Without ready access to firearms, suicidal people often turn to trains. —Der Spiegel, July 27, 2011 Once it happens you can’t remember how you started out: innocent, barreling into the tunnel, shooting out at each station like a dolphin out of a dim green pool. Pneumatic doors inhale open, puff shut, lock with a solid thump. Up and down the line, fifty times a day, it’s a long slow song. You feel the rumble as much as hear it. In your dim green trance the words retain wonder: Vorsicht, Türe werden geschloßen. Caution, the doors are closing. Then the first time: someone decides darkness will answer, hides out in the tunnel, steps out in front of the train like he knows where he’s going, steps out at you, dying at you, knowing you can’t stop in time. Now each time the doors close, they seal you in. You are a human bullet shot into the tunnels, hoping no one will block the light far ahead, each station one minute’s reprieve.

take away your revolvers, and no one wants to take away your automatic pistols, as long as said pistols hold no more than ten rounds. If you can’t kill a home invader (or your wife, up in the middle of the night to get a snack from the fridge) with ten shots, you need to go back to the local shooting range.

Ginny had seen enough shows in her lifetime to know that this wasn’t a very good show. It didn’t actually make any sense. There were a lot of random things going on, like a guy who sometimes rode through the scene on a bike for no reason that Ginny could figure. And at one point, there was a shooting in the background, but the guy who got shot just kept on singing, so his injuries obviously weren’t that bad.

Here was the real scandal of On Our Backs photography: We were women shooting other women — our names, faces, and bodies on the line — and we all brought our sexual agenda to the lens. Each pictorial was a memoir. That is quite the opposite of a fashion shoot at Vogue or Playboy, where the talent is a prop… When we began our magazine, female fashion and portrait models — all of them — were shot the same way kittens and puppies are photographed for holiday calendars: in fetching poses, with no intentions of their own.

…Sam [Raimi] wanted the climactic sword fight to play out as elegantly as a Fred Astaire movie and he wanted it all in one crane shot. I must have rehearsed the routine for three weeks, but when it came time to shoot, the rigors of running up and down steps, fighting with both hands, and flipping skeletons over my head was too much to pull off without cuts. After ten takes, I knew Sam was pissed off, because he yanked the bullhorn from John Cameron. ‘Okay, obviously, this is NOT WORKING, and it’s NOT GOING TO WORK, so we’re going to break it up into A THOUSAND LITTLE PIECES.’ When Sam gets upset, he lets you know it, and he’ll torture you for days afterward because he’s one of those guys who never forgets. The first ‘little piece’ of the sequence was a shot of me ducking as a sword glances off the stone wall behind me. ‘So, you think you can do this, Bruce?’ he’d say, loud enough for the entire crew to hear. ‘Or should I break this ONE shot into THREE MORE SHOTS?’ Sam also threatened to put Ash in a chorus line with skeletons.

The guy who shot him had quite a temper. Homicide had always made sense to him. He would say that there wasn’t a problem in the world that couldn’t be solved by shooting someone in the face. You just had to find the right person. Hell, you didn’t even need to do that. Sometimes just shooting the person next to him was enough.

grew up with guns and I needed them. Most people don’t. All these high-capacity guns flashed by the nutcakes? They’re a disaster. If I had my way, there’d be no guns but single-shot hunting rifles and single-shot shotguns. You could do all the target shooting you want with those. You could hunt to your heart’s content. Of course, you’d actually have to learn how to hunt or how to hit a target, and most of those dimwits don’t want to be bothered.

teacher is teaching a class and she sees that Johnny isn't paying attention, so she asks him, "If there are three ducks sitting on a fence, and you shoot one, how many are left?" Johnny says, "None." The teacher asks, "Why?" Johnny says, "Because the shot scared them all off." The teacher says, "No, there are two left, but I like how you're thinking." Then Johnny asks the teacher, "You see three women walking out of an ice cream parlor. One is licking her ice cream, one is sucking her ice cream, and one is biting her ice cream. Which one is married?" And the teacher responds, "The one sucking her ice cream." Johnny says, "No, the one with the wedding ring, but I like how you're

You only heard the statement of the loss. You did not see the father fall as Pilar made him see the fascists die in that story she had told by the stream. You knew the father died in some courtyard, or against some wall, or in some field or orchard, or at night, in the lights of a truck, beside some road. You had seen the lights of the car from down the hills and heard the shooting and afterwards you had come down to the road and found the bodies. You did not see the mother shot, nor the sister, nor the brother. You heard about it; you heard the shots; and you saw the bodies.

If you've never shot a gun, You can’t understand how it feels in your hands. Cool to the touch, all its venom coiled inside, deadly, like a steel-scaled serpent. Awaiting your bidding. You select it’s prey… paper, tin, or flesh. You lie in wait, learn that patience is the killer’s most trustworthy accomplice. You choose the moment. What. Where. When. Decided. But the how is everything. You lift your weapon, ease it into place, cock it, to load it, knowing the satisfying snitch means a bullet is yours to command. Now, make or break, it’s all up to you. You aim knowing a hair either way means bull’s-eye or miss. Success or failure. Life or death. You have to relax, convince your muscles not to be tense, not to betray you. Sight again. Adjust. Don’t become distracted by the heat of the hunt. Instincts take over. You shoot and adrenaline screams as your target shreds or the flesh drops. And for one indescribable moment you are God.

(On WWI:) A man of importance had been shot at a place I could not pronounce in Swahili or in English, and, because of this shooting, whole countries were at war. It seemed a laborious method of retribution, but that was the way it was being done. ... A messenger came to the farm with a story to tell. It was not a story that meant much as stories went in those days. It was about how the war progressed in German East Africa and about a tall young man who was killed in it. ... It was an ordinary story, but Kibii and I, who knew him well, thought there was no story like it, or one as sad, and we think so now. The young man tied his shuka on his shoulder one day and took his shield and his spear and went to war. He thought war was made of spears and shields and courage, and he brought them all. But they gave him a gun, so he left the spear and the shield behind him and took the courage, and went where they sent him because they said this was his duty and he believed in duty. ... He took the gun and held it the way they had told him to hold it, and walked where they told him to walk, smiling a little and looking for another man to fight. He was shot and killed by the other man, who also believed in duty, and he was buried where he fell. It was so simple and so unimportant. But of course it meant something to Kibii and me, because the tall young man was Kibii's father and my most special friend. Arab Maina died on the field of action in the service of the King. But some said it was because he had forsaken his spear.

Richards remembered the day - that glorious and terrible day - watching the planes slam into the towers, the image repeated in endless loops. The fireballs, the bodies falling, the liquefaction of a billion tons of steel and concrete, the pillowing clouds of dust. The money shot of the new millennium, the ultimate reality show broadcast 24-7. Richards had been in Jakarta when it happened, he couldn't even remember why. He'd thought it right then; no, he'd felt it, right down to his bones. A pure, unflinching rightness. You had to give the military something to do of course, or they'd all just fucking shoot each other. But from that day forward, the old way of doing things was over. The war - the real war, the one that had been going on for a thousand years and would go on for a thousand thousand more - the war between Us and Them, between the Haves and the Have-Nots, between my gods and your gods, whoever you are - would be fought by men like Richards: men with faces you didn't notice and couldn't remember, dressed as busboys or cab drivers or mailmen, with silencers tucked up their sleeves. It would be fought by young mothers pushing ten pounds of C-4 in baby strollers and schoolgirls boarding subways with vials of sarin hidden in their Hello Kitty backpacks. It would be fought out of the beds of pickup trucks and blandly anonymous hotel rooms near airports and mountain caves near nothing at all; it would be waged on train platforms and cruise ships, in malls and movie theaters and mosques, in country and in city, in darkness and by day. It would be fought in the name of Allah or Kurdish nationalism or Jews for Jesus or the New York Yankees - the subjects hadn't changed, they never would, all coming down, after you'd boiled away the bullshit, to somebody's quarterly earnings report and who got to sit where - but now the war was everywhere, metastasizing like a million maniac cells run amok across the planet, and everyone was in it.

Because the truth was, and we both knew it, he'd gone long, long ago. I'd just made him stick around when he really wanted to be somewhere else. In his own weird way, he was another victim of the shooting, One of the ones who couldn't get away. "Are you mad?" he asked, which I thought was a really strange question. "Yes," I said. And I was. It's just that I wasn't so sure I was mad at him. But I don't think he needed to hear that part. I don't think he wanted to hear that part. I think it was important to him to hear that I cared enough to be angry. "Will you ever forgive me?" he asked. "Will you ever forgive me?" I shot back, leveling my gaze directly into his eyes. He stared into them for a few moments then got up silently and headed for the door. He didn't turn around when he reached it. Just grabbed the doorknob and held it. "No," he said without facing me. "Maybe that makes me a bad parent, but I don't know if I can. No matter what the police found, you were involved in that shooting, Valerie. You wrote those names on that list. You wrote my name on that list. You had a good life here. You might not have pulled the trigger, but you helped cause the tragedy." He opened the door."I'm sorry. I really am." He stepped out into the hallway. "I'll leave my new address and phone number with your mother," he said before walking slowly out of my sight.

Just as he hadn’t balked from seeing her shoot that target, and instead answered it with a shot of his own. Like they were two of a kind, like she could throw anything at him and he’d catch it. Would meet every challenge with that wicked, feral grin.

is a MYTHical MANchild Of rather dubious distinction Always AGITATING COMBINATING and ELEVATING his game He dribbles fakes then takes the ROCK to the glass, fast, and on BLAST But watch out when he shoots or you’ll get SCHOOLed FOOLed UNCOOLed ’Cause when FILTHY gets hot He has a SLAMMERIFIC SHOT It’s Dunkalicious CLASSY Supersonic SASSY and D O W N right in your face mcNASTY

When I met him, he hadn't eaten for days, and lived in a rathole. But his rifle was clean and he had lots of ammunition. Whenever he heard shooting he ran towards it. If it was workers shooting at priests, state officials, capitalists, or cops, he'd empty his rifle as fast as he could fill it. But if two groups of workers ever shot at each other, he'd risk his life by standing between them and shouting, "When workers kill each other, there is no more reason to live! Kill me from both sides." -- Luisa Nachalo

Do you know what two centimeters is? Yeah. It's a measurement. It's about three quarters of an inch. All right. That's the distance that round missed your liver by. Is that what the doctor told you? Yes. You know what the liver does? No. It keeps you alive. Do you know who the man is who shot you? Maybe he didnt shoot me. Maybe it was one of the Mexicans. Do you know who the man is? No. Am I supposed to? Becase he's not somebody you really want to know. The people he meets tend to have very short futures. Nonexistent, in fact. Well good for him.

She wants lilacs in her wedding bouquet." "Okay . . ." Nevada had said she wanted carnations, but we could stuff some pretty pink lilacs in there. I didn’t see the problem. "Blue," Arabella squeezed out. "She wants blue lilacs." No and also no. "Nevada . . ." "I had to hide in a bush of French lilacs yesterday and they were very pretty and smelled nice. The card on the tree said, ‘Wonder Blue: prolific in bloom and lush in perfume.’" I googled French lilac, Wonder Blue. It was blue. Like in your face blue. "Why were you hiding in a bush?" "She was being shot at," Arabella said with a sour face. "So you stopped to smell the lilacs while people were shooting at you?" I couldn’t even.

The girl ginned again, more cheerfully than ever. 'Bless you, miss! Baxter's the keeper; and when he finds strange dogs hunting about, he takes and shoots 'em. It's keeper's dooty, miss. I think that dog will die. Here's where he's been shot, ain't it? That's Baxter's doings, that is. Baxter's doings, miss, and Baxter's dooty.' It was almost wicked enough to wish that Baxter had shot the housemaid instead of the dog.

This cook, Preacher? He's unbelievable. I had some of his venison chili when I first got to town and it almost made me pass out, it was so good." Hi slips curved in a smile. "You at venison, Marcie?" "I didn't have a relationship with the deer," she explained. "You don't have a relationship with my deer either," he pointed out. "Yeah, but I have a relationship with you--you've seen me in my underwear. And you have a relationship with the deer. If you fed him to me, it would be like you shot and fed me your friend. Or something." Ian just drained his beer and smiled at her enough to show his teeth. "I wouldn't shoot that particular buck," he admitted. "But if I had a freezer, I'd shoot his brother." "There's something off about that," she said, just as Jack placed her wine in front of her. "Wouldn't it be more logical if hunters didn't get involved with their prey? Or their families? Oh, never mind--I can't think about this before eating my meat loaf. Who knows who's in it?" -Ian and Marcie

Somewhere en route to Port Via in the New Hebrides, for my last meal I serve dinner the way I've always dreamed. Anybody caught buttering their bread before breaking it, I promise to shoot them. Anybody who drinks their beverage with food still in their mouth will also be shot. Anybody caught spooning toward themself will be shot. Anybody caught without a napkin in their lap- Anybody caught using their fingers to move their food- Anybody who begins eating before everybody is seved- Anybody who blows on food to cool it- Anybody who talks with food in their mouth- Anybody who drinks white wine holding their glass by the bowl or drinks red wine holding their glass by the stem- You will each of you get a bullet in the head. We are 30,000 feet above earth, going 455 miles per hour. We're at a pinnacle of human achievement, we are going to eat this meal as civilized human beings.

(What Jim had seen tallied with studies conducted after the Second World War by the military historian General S.L.A. Marshall. He interviewed thousands of American infantrymen and concluded that only 15-20 per cent of them had actually shot to kill. The rest had fired high or not fired at all, busying themselves however else they could. And 98 per cent of the soldiers who did shoot to kill were later found to have been deeply traumatized by their actions. The other 2 per cent were diagnosed as ‘aggressive psychopathic personalities’, who basically didn’t mind killing people under any circumstances, at home or abroad. The conclusion—in the words of Lieutenant Colonel Dave Grossman of the Killology Research Group—was: ‘there is something about continuous, inescapable combat which will drive 98 per cent of all men insane, and the other 2 per cent were crazy when they got there’.)

Mouse took an idle whack at some kudzu as he passed, but his face was serious. “Hell, I don’t know. Why do you care? That was right after our farm burned. They got everyone. Mom and Dad. Simon. Shane got recruited. I saw that. They shot Simon because he was too little, but they took Shane.” He knocked aside more kudzu. “Maybe I was hoping they’d just shoot me and get it over with. I was so sick of hiding and scavenging. I think I wanted the bullet.

You're lucky you didn't get shot," Mal said angrily... "It was worth it," I replied. "Besides, no one's going to shoot the Sun Summoner." "You just punched a prince, Alina. I guess we can add one more act of treason to our list." I shook out my sore hand. My knuckles smarted. "First of all, are we so sure he really is a prince? And second, you're just jealous." "Of course I'm jealous. I thought I was going to get to punch him. That isn't the point.

She cleared her throat. "I dont like that sort of thing." [...] "What sort of thing?" His gaze dropped to her mouth. Held there. [...] "The F-word sort of thing. She blurted it out, saying the first thing that came into her mind without thinking. His eyebrow shot up. She hadn't thought that anyone could do that. Shoot up one eyebrow. It was incredibly hot-at least on him. "The F-word?" He repeated. " Dolce core, you can't even say fuck, for fuck's sake.

Under the trees several pheasants lay about, their plumage dabbled with blood... some feebly twitching a wing, some staring up at the sky... all of them writhing in agony, except the fortunate ones whose tortures had ended during the night... Tess guessed at once the meaning... The birds had been driven down into this corner by some shooting-party; and while those that had dropped dead under the shot had been searched for and carried off, many badly wounded birds had escaped and hidden themselves away, or risen among the thick boughs, where they maintained their position till they grew weaker with loss of blood, when they had fallen one by one... "Poor darlings--to suppose myself the most miserable being on earth in the sight o' such misery as yours... And not a twinge of bodily pain about me! I be not mangled, and I be not bleeding, and I have two hands to feed and clothe me." She was ashamed of herself for the gloom of the night, based on nothing more tangible than a sense of condemnation under an arbitrary law of society which had no foundation in Nature.

Now standing in one corner of a boxing ring with a .22 caliber Colt automatic pistol, shooting a bullet weighing only 40 grains and with a striking energy of 51 foot pounds at 25 feet from the muzzle, I will guarantee to kill either Gene Tunney or Joe Louis before they get to me from the opposite corner. This is the smallest caliber pistol cartridge made; but it is also one of the most accurate and easy to hit with, since the pistol has no recoil. I have killed many horses with it, cripples and bear baits, with a single shot, and what will kill a horse will kill a man. I have hit six dueling silhouettes in the head with it at regulation distance in five seconds. It was this type of pistol that Millen boys’ colleague, Abe Faber, did all his killings with. Yet this same pistol bullet fired at point blank range will not dent a grizzly’s skull, and to shoot a grizzly with a .22 caliber pistol would simply be one way of committing suicide

The best example I know, of this astonishingly stupid attitude towards sport, is that of Franz Ferdinand. His, however, was an achievement with the gun. He used to shoot at Konopist with no less than seven weapons and four loaders, and he once killed more than 4,000 birds, himself, in one day. [A propos of statistics and quite beside the point: a Yorkshireman once drank 52½ pints of beer in one hour.] Now why did Franz Ferdinand do this? Even if he shot for twelve hours at a stretch, without pause for luncheon, it means that he killed six birds in each minute of the day. The mere manual labour, a pheasant every ten seconds for twelve successive hours, is enough to make a road-mender stagger; and there is little wonder that, by the time the unhappy archduke had accumulated his collection of 300,000 head of game, he was shooting with rubber pads on his coat and a bandage round his ears. The unfortunate man had practically stunned himself with gunpowder, long before they bagged him also at Sarajevo.

Mrs Farleigh," he called. She stopped and gave him her shoulder, not quite meeting his eyes. Still wary, and that made him angrier yet. "I want you to trounce me." Her head snapped up. "Pardon?" "It is down to you and me. We are battling it out, to see who will be king of the indifferent shots in this competition. Only one of us will prevail.I shall shoot to win." He really was angry, he realized - furious to imagine her spending her autumns deliberately hiding what she could do, hiding the extent of her ability from the man who should treasure it. It was as if she'd left a vast swath of her ability unclaimed, hidden behind a swirl of feminine smiles. He didn't like the idea. He didn't like it at all.

In the Soviet Union, for example, shooting or jailing political opponents at first helped the Communist Party and then Josef Stalin gain absolute power. But after there were no visible opponents left, seven million more people were executed, and many millions more died in the far-flung camps of the gulag. So many engineers were seized that factories came to a halt; so many railway men died that some trains did not run; so many colonels and generals were shot that the almost leaderless Red Army was nearly crushed by the German invasion of 1941.

... what he could or couldn’t say to them. Everything he had to say: I love you, it’s hell, I walk on corpses and breathe death, it’s only a matter of time before I prove a coward, and I don’t want to be a coward, but I don’t understand, either I kill people, or I’m a coward, that’s the choice, someone somewhere set it up and I get no vote, I can’t say, ‘I don’t accept that’ – and I have accepted it, for a year I’ve accepted it, this is the situation but I don’t understand how I got here, how it is just going on and on, and nobody mentions it, and if you don’t like it they think you’re mad, and you get shot, for cowardice, desertion . . . and your own men, your companions, your brothers, have to shoot you . . . and I’m so fucking scared out there every day, every night— and now they’ve made me a fucking officer — What the fuck could he say to any of them? Well, there’ll be none of that swearing for a start.

Anxiety is debilitating. "What's it like to live with anxiety"? One day your waters are calm, the seagulls are all around, gently landing on your shoreline, then suddenly a mountain falls into your ocean and there are waves shooting out in all directions, the seagulls scatter and leave you all alone, and there is a big hole in the middle of your stomach, where all the water jumped out of! And you can hardly walk or stand up or eat, because, there is a hole on your stomach! Somebody shot you and you can feel it, but no one else can see it. That's exactly what anxiety is like. You're walking around thinking all is well, then you get shot in the stomach with an invisible bullet and bleed out in a way that nobody else understands.

My second point, in fact, was something the convicts had taught me. They all believed that the White people who insisted that it was their Constitutional right to keep military weapons in their homes all looked forward to the day when they could shot Americans who didn't have what they had, who didn't look like their friends and relatives, in a sort of open-air shooting gallery we used to call in Vietnam a "Free Fire Zone." You could shoot anything that moved, for the good of the greater society, which was always someplace far away, like Paradise.

She stood in profile across the green, her back straight, her stance that of some long ago warrior maiden. As he walked toward her, Miss Greaves drew back her bow briskly, aiming a tad high to account for the wind, and let her arrow fly. Before it had hit the target, she’d notched another and shot it. A third followed just as rapidly. He glanced to the target. All three of her arrows were clustered together at the center of the red circle. Miss Greaves, who “did not shoot,” was a better shot than all the other ladies—and probably the men as well. He glanced from the target to her and saw that she stared back, proud and unsmiling. Artemis. She was named for the goddess of the hunt—a goddess who had slain without remorse her only admirer.

The big man jerked Jason to an upright position. “You shot me, mister. Now you pay.” He placed a bearpaw over Jason’s face and smashed his head into a tree, hard enough not to kill, but with enough force to knock him senseless. Then he broke each of Jason’s fingers, one at a time. For good measure he squeezed each of the Director’s hands until he could feel small bones crunching.

Had he and I but met By some old ancient inn, We should have sat us down to wet Right many a nipperkin! But ranged as infantry, And staring face to face, I shot at him as he at me, And killed him in his place. I shot him dead because — Because he was my foe, Just so: my foe of course he was; That's clear enough; although He thought he'd 'list, perhaps, Off-hand like — just as I — Was out of work — had sold his traps — No other reason why. Yes; quaint and curious war is! You shoot a fellow down You'd treat if met where any bar is, Or help to half-a-crown.

Sometimes I hate this language with its false words like sunset. The sun does not set. It doesn't rise either. It just stays there in one place, yet we get all romantic, huddling on beaches to watch its so-called departure, when it is we who turn away from it, which is a good thing-if the sun could turn, it would never come back, it'd just keep going, look for some better planet to nourish. Moonlight is another lie. It's a luminescent echo. The moon is a politician whose speeches are written by the sun. I long for a world where witnesses in court must place their hands on a dictionary when they swear. A world where an archer must ask an arrow's permission before loading it into a crossbow. A world with inverted flashlights that shoot out beams of darkness, so you can go to the beach and sabotage sunbathers, rob them of their shine. A world where people eat animals they wish to emulate. But who the hell am I? I'm just the spark from two people who rubbed their genitals together like sticks in a forest one October night because they were cold. I'm just burning the firecracker at both ends. Every morning I get up and swallow my weirdness pills. I know the glass is half full, but it's a shot glass, and there are four of us, and we're all very thirsty. I know it's easy not to cry over spilled milk when you've got another carton in the fridge.

In 1999, and a mere ten days after a certain Thursday , eighteen-year-old Eric Harris and seventeen-year-old Dylan Klebold planted bombs in their Littleton, Colorado, high school and went on a shooting rampage that killed one teacher and twelve students, while wounding twenty-three, after which they shot themselves. So young Kevin—your choice—has turned out as American as a Smith and Wesson.

The newspaper had said how the police ambushed the Black Panthers while they were in a car and how the Panthers fled inside a house for shelter. That there was a shoot-out. That the police fired at the Panthers and the Panthers fired at the police. That when Little Bobby came outside to surrender, and took off all his clothes except for his underwear to show he had no gun, they shot him anyway.

The vastness and deadly desolation of the field, the long-distance operation of steel machines, and the relay of every movement in the night drew an unyielding Titan’s mask over the proceedings. You moved toward death without seeing it; you were hit without knowing where the shot came from. Long since had the precision shooting of the trained marksman, the direct fire of guns, and with it the charm of the duel, given way to the concentrated fire of mechanized weapons. The outcome was a game of numbers: Whoever could cover a certain number of square meters with the greater mass of artillery fire, won.

Here, you drive," Erik said. "What? Why?" "In case we do have to start shooting; I have a badge and you don't," he explained. "Fine. But for the record, I'm a better shot than you are." "For your information, I was the youngest kid awarded the rifle shooting merit badge in my troop," Erik said, holding the wheel as she climbed across him. "Is that supposed to impress me?" "Just enough to get you back into my bed." She took over the gas pedal and Erik slid out from underneath her. "It takes more than fancy shooting," she said loftily, making a sharp turn. Erik was thrown against the door. "Would you warn me before you do that?" "It's a car chase!

What a scraping paring affair it is to be sure! The wonder is that I've any clothes on my back, that I sit surrounded by solid furniture at this moment. Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour—landing at the other end without a single hairpin in one's hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard ...

As always, I do not blame anyone. I've tried great debauchery and exhausted my strength in it; but I don't like debauchery and I did not want it. You've been observing me lately. Do you know that I even looked at these negators of ours with spite, envying them their hopes? But your fears were empty: I could not be their comrade, because I shared nothing. Nor could I do it out of ridicule, for spite, and not because I was afraid of the ridiculous--I cannot be afraid of the ridiculous--but because, after all, I have the habits of a decent man and felt disgusted. Still, if I had more spite and envy for them, I might even have gone over to them....Your brother told me that he who loses his ties with his earth also loses his gods, that is, all his goals. One can argue endlessly about everything, but what poured out of me was only a negation, with no magnanimity and no force. Or not even negation. Everything is always shallow and listless. Magnanimous Kirillov could not endure his idea and--shot himself; but I do see that he was magnanimous because he was not in his right mind. I can never lose my mind, nor can I ever believe an idea to the same degree as he did. I cannot even entertain an idea to the same degree. I could never, never shoot myself! I know I ought to kill myself, to sweep myself off the earth like a vile insect; but I'm afraid of suicide, because I'm afraid of showing magnanimity. I know it will only be one more deceit--the last deceit in an endless series of deceits. What's the use of deceiving oneself just so as to play at magnanimity? There never can be indignation or shame in me; and so no despair either.

For Eric, Columbine was a performance. Homicidal art. He actually referred to his audience in his journal: “the majority of the audience wont even understand my motives,” he complained. He scripted Columbine as made-for-TV murder, and his chief concern was that we would be too stupid to see the point. Fear was Eric’s ultimate weapon. He wanted to maximize the terror. He didn’t want kids to fear isolated events like a sporting event or a dance; he wanted them to fear their daily lives. It worked. Parents across the country were afraid to send their kids to school. Eric didn’t have the political agenda of a terrorist, but he had adopted terrorist tactics. Sociology professor Mark Juergensmeyer identified the central characteristic of terrorism as “performance violence.” Terrorists design events “to be spectacular in their viciousness and awesome in their destructive power. Such instances of exaggerated violence are constructed events: they are mind-numbing, mesmerizing theater.” The audience—for Timothy McVeigh, Eric Harris, or the Palestine Liberation Organization—was always miles away, watching on TV. Terrorists rarely settle for just shooting; that limits the damage to individuals. They prefer to blow up things—buildings, usually, and the smart ones choose carefully. “During that brief dramatic moment when a terrorist act levels a building or damages some entity that a society regards as central to its existence, the perpetrators of the act assert that they—and not the secular government—have ultimate control over that entity and its centrality,” Juergensmeyer wrote. He pointed out that during the same day as the first attack on the World Trade Center, in 1993, a deadlier attack was leveled against a coffee shop in Cairo. The attacks were presumably coordinated by the same group. The body count was worse in Egypt, yet the explosion was barely reported outside that country. “A coffeehouse is not the World Trade Center,” he explained. Most terrorists target symbols of the system they abhor—generally, iconic government buildings. Eric followed the same logic. He understood that the cornerstone of his plan was the explosives. When all his bombs fizzled, everything about his attack was misread. He didn’t just fail to top Timothy McVeigh’s record—he wasn’t even recognized for trying. He was never categorized with his peer group. We lumped him in with the pathetic loners who shot people.

Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour--landing at the other end without a single hairpin in one's hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard ...

I never knew it happened like that." I snap my gaze to her. "What?" "You know. Romeo and Juliet stuff. Love at first sight and all that." "It's not like that," I say quickly. "You could have fooled me." We're up again. Catherine takes her shot. It swishes cleanly through the hoop. When I shoot, the ball bounces hard off the backboard and flies wildly through the air, knocking the coach in the head. I slap a hand over my mouth. The coach barely catches herself from falling. Several students laugh. She glares at me and readjusts her cap. With a small wave of apology, I head back to the end of the line. Will's there, fighting laughter. "Nice," he says. "Glad I'm downcourt of you." I cross my arms and resist smiling, resist letting myself feel good around him. But he makes it hard. I want to smile. I want to like him, to be around him, to know him. "Happy to amuse you." His smile slips then, and he's looking at me with that strange intensity again. Only I understand. I know why. He must remember...must recognize me on some level even though he can't understand it. "You want to go out?" he asks suddenly. I blink. "As in a date?" "Yes. That's what a guy usually means when he asks that question." Whistles blow. The guys and girls head in opposite directions. "Half-court scrimmage," Will mutters, looking unhappy as he watches the coaches toss out jerseys. "We'll talk later in study hall. Okay?" I nod, my chest uncomfortably tight, breath hard to catch. Seventh period. A few hours to decide whether to date a hunter. The choice should be easy, obvious, but already my head aches. I doubt anything will ever be easy for me again.

It was after midnight by a mile when I slid off the bar stool at O’Malley’s and began to walk home. O’Malley’s is an old Irish pub and though I wasn’t Irish, nor did I drink like a lot of other newspaper reporters I knew, I stopped by for a Coke nearly every evening. I liked listening to other reporters — and cops, who also frequented O’Malley’s — shoot the breeze and relate old stories that hadn’t been completely true the first time they’d been told. O’Malley’s was just somewhere to go which made every guy sipping a beer or doing shots feel a little less alone in a city like Los Angeles. Some of them still had wives, but you could tell they were lonely. Otherwise, they wouldn’t have been hanging around a bar at that hour; they’d have been finding solace in soft flesh and perfume. Maybe their wives would have been finding some solace too, and more of them would have stayed married. Most of those guys, cops and reporters alike, were working on their second or third marriage. I didn’t think they were working hard enough, but maybe that was because I didn’t have anyone to go home to.

The Germans rolled back, and a wounded lieutenant, the artillerist Kostia Khudov, was left in no-man’s-land. The orderlies who tried to bring him back were killed. Two first-aid sheepdogs (this was the first time I saw them) crept toward him, but were also killed. And then I took off my flap-eared hat, stood up tall, and began to sing our favorite prewar song: “I saw you off to a great deed,” first softly, then more and more loudly. Everything became hushed on both sides—ours and the Germans’. I went up to Kostia, bent down, put him on a sledge, and took him to our side. I walked and thought: “Only not in the back, better let them shoot me in the head.” So, right now…right now…The last minutes of my life…Right now! Interesting: will I feel the pain or not? How frightening, mama dear! But not a single shot was fired…

Rooster here has missed Ned a few times himself, horse and all,' said the captain. 'I reckon his is on his way now to missing him again.' Rooster was holding a bottle with a little whiskey in it. He said, 'You keep on thinking that.' He drained off the whiskey in about three swallows and tapped the cork back in and tossed the bottle up in the air. He pulled his revolver and fired at it twice and missed. The bottle fell and rolled and Rooster shot at it two or three more times and broke it on the ground. He got out his sack of cartridges and reloaded his pistol. He said, 'The Chinaman is running them cheap shells in on me again.' LaBoeuf said, 'I thought maybe the sun was in your eyes. That is to say, your eye.' Rooster swung the cylinder back in his revolver and said, 'Eyes, is it? I'll show you eyes!' He jerked the sack of corn dodgers free from his saddle baggage. He got one of the dodgers out and flung it in the air and fired at it and missed. Then he flung another one up and he hit it. The corn dodger exploded. He was pleased with himself and he got a fresh bottle of whiskey from his baggage and treated himself to a drink. LaBoeuf pulled one of his revolvers and got two dodgers out of the sack and tossed them both up. He fired very rapidly but he only hit one. Captain Finch tried it with two and missed both of them. Then he tried with one and made a successful shot. Rooster shot at two and hit one. They drank whiskey and used up about sixty corn dodgers like that. None of them ever hit two at one throw with a revolver but Captain Finch finally did it with his Winchester repeating rifle, with somebody else throwing. It was entertaining for a while but there was nothing educational about it. I grew more and more impatient with them. I said, 'Come on, I have had my bait of this. I am ready to go. Shooting cornbread out here on this prairie is not taking us anywhere.' By then Rooster was using his rifle and the captain was throwing for him. 'Chunk high and not so far out this time,' said he.

Did you know that Jesse James was shot while he was standing on a chair, dusting the top of a picture frame?” “You must have mixed feelings about that,” I suggested. He nodded vigorously. “I know. On the one hand, a cold-blooded killer was finally brought down. On the other hand . . . he was dusting!” “Wasn’t he also shot in the back?” “Sure, but that’s not the important part. The man was dusting. What kind of coward shoots a man when he’s dusting?” “I wonder if he finished the entire frame.” “My question exactly. I wrote a letter to the True West Historical Society but they never replied.

Without screaming or weeping these people undressed, stood around in family groups, kissed each other, said farewells and waited for a sign from another S.S. man, who stood near the pit, also with a whip in his hand. During the fifteen minutes that I stood near the pit I heard no complaint or plea for mercy… An old woman with snow-white hair was holding a one-year-old child in her arms and singing to it and tickling it. The child was cooing with delight. The parents were looking on with tears in their eyes. The father was holding the hand of a boy about 10 years old and speaking to him softly; the boy was fighting his tears. The father pointed to the sky, stroked his head and seemed to explain something to him. At that moment the S.S. man at the pit shouted something to his comrade. The latter counted off about twenty persons and instructed them to go behind the earth mound… I well remember a girl, slim and with black hair, who, as she passed close to me, pointed to herself and said: “twenty-three years old.” I walked around the mound and found myself confronted by a tremendous grave. People were closely wedged together and lying on top of each other so that only their heads were visible. Nearly all had blood running over their shoulders from their heads. Some of the people were still moving. Some were lifting their arms and turning their heads to show that they were still alive. The pit was already two-thirds full. I estimated that it contained about a thousand people. I looked for the man who did the shooting. He was an S.S. man, who sat at the edge of the narrow end of the pit, his feet dangling into the pit. He had a tommy gun on his knees and was smoking a cigarette. The people, completely naked, went down some steps and clambered over the heads of the people lying there to the place to which the S.S. man directed them. They lay down in front of the dead or wounded people; some caressed those who were still alive and spoke to them in a low voice. Then I heard a series of shots. I looked into the pit and saw that the bodies were twitching or the heads lying already motionless on top of the bodies that lay beneath them. Blood was running from their necks. The next batch was approaching already. They went down into the pit, lined themselves up against the previous victims and were shot. And so it went, batch after batch. The next morning the German engineer returned to the site. I saw about thirty naked people lying near the pit. Some of them were still alive… Later the Jews still alive were ordered to throw the corpses into the pit. Then they themselves had to lie down in this to be shot in the neck… I swear before God that this is the absolute truth.47

Then I began writing. It was about a German aviator in World War I. Baron Von Himmlen. He flew a red Fokker. And he was not popular with his fellow fliers. He didn't talk to them. He drank alone and he flew alone. He didn't bother with women, although they all loved him. He was above that. He was too busy. He was busy shooting Allied plans out of the sky. Already he had shot down 110 and he war wasn't over. His red Fokker, which he referred to as the "October Bird of Death," was known everywhere. Even the enemy ground troops knew him as he often flew low over them, taking their gunfire and laughing, dropping bottles of champagne to them suspended from little parachutes. Baron Von Himmlen was never attacked by less than five Allied planes at a time. He was an ugly man with scars on his face, but he was beautiful if you looked long enough -- it was in the eyes, his style, his courage, his fierce aloneness.

At that distance, peacefully eating, the elephant looked no more dangerous than a cow. I thought then and I think now that his attack of “must” was already passing off; in which case he would merely wander harmlessly about until the mahout came back and caught him. Moreover, I did not in the least want to shoot him. I decided that I would watch him for a little while to make sure that he did not turn savage again, and then go home. But at that moment I glanced round at the crowd that had followed me. It was an immense crowd, two thousand at the least and growing every minute. It blocked the road for a long distance on either side. I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot. They were watching me as they would watch a conjurer about to perform a trick. They did not like me, but with the magical rifle in my hands I was momentarily worth watching. And suddenly I realized that I should have to shoot the elephant after all. The people expected it of me and I had got to do it; I could feel their two thousand wills pressing me forward, irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man’s dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd — seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the “natives,” and so in every crisis he has got to do what the “natives” expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing — no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

The nightmare takes various forms, comes in sleep, or in wakefulness, and can be pictured most simply like this: There is a blindfolded man standing with his back to the brick wall. He has been tortured nearly to death. Opposite him are six men with their rifles raised ready to shoot, commanded by a seventh, who has his hand raised, When he drops his hand, the shots will ring out, and the prisoner will fall dead. But suddenly there is something unexpected—yet not altogether unexpected, for the seventh has been listening all this while in case it happens. There is an outburst of shouting and fighting in the street outside. The six men look in query at their officer, the seventh. The officer stands waiting to see how the fighting outside will resolve itself. There is a shout: ‘We have won!’ At which the officer crosses the space to the wall, unties the bound man, and stands in his place. The man, hitherto bound, now binds the other. There is a moment, and this is the moment of horror in the nightmare, when they smile at each other: It is a brief, bitter, accepting smile. They are brothers in that smile. The smile holds a terrible truth that I want to evade. Because it cancels all creative emotion. The offer, the seventh, now stands blindfolded and waiting with his back to the wall. The former prisoner walks to the firing squad who are still standing with their weapons ready. He lifts his hand, then drops it. The shots ring out, and the body by the wall falls twitching. The six soldiers are shaken and sick; now they will go and drink to drown the memory of their murder. But the man who was bound, is now free, smiles as they stumble away, cursing and hating him, just as they would have cursed and hated the other, now dead. And in this man’s smile at the six innocent soldiers there is a terrible understanding irony. This is the nightmare.

Katerina, stop! Or I'll shoot!" "Then fucking shoot!" "Okay, I'm gonna shoot you in the ankle, okay? They say that's the safest place." "Don't shoot me, just go home." "I can't! Okay, I'm gonna shoot you now, and then when I do, just stay down, okay?" "Why are you so weird?! If you are going to shot, then fucking shoot!" "O-kay! Are you ready?!" BANG. She goes down. I run up to her, bleeding out the side of her calf. "Oh, I meant to hit a little lower, actually." She gets up. I think she actually believes she's going to catch up with these guys. Gunshot and all. I kick her in the chest. "This is interesting friendship.

Do you know what your husband is doing?” she asked. “Yes,” June said, sounding annoyed. “Not babysitting.” “Are you worried?” “Only that one of them will shoot off a toe. Why? Are you?” “Well… Yes! You should have seen them—in their vests and with those big guns. I mean, big guns!” “Well, there are bear out there, you know. You don’t want a peashooter,” June said. “You don’t have to worry about Jack, honey. I think it’s been established he’s a good shot, if he needs to be.” “What about Jim?” “Jim?” She laughed. “Mel, Jim used to do this for a living. He won’t admit he misses it just a little bit. But I swear I heard him giggle.” All

Bradley is one of the few basketball players who have ever been appreciatively cheered by a disinterested away-from-home crowd while warming up. This curious event occurred last March, just before Princeton eliminated the Virginia Military Institute, the year's Southern Conference champion, from the NCAA championships. The game was played in Philadelphia and was the last of a tripleheader. The people there were worn out, because most of them were emotionally committed to either Villanova or Temple-two local teams that had just been involved in enervating battles with Providence and Connecticut, respectively, scrambling for a chance at the rest of the country. A group of Princeton players shooting basketballs miscellaneously in preparation for still another game hardly promised to be a high point of the evening, but Bradley, whose routine in the warmup time is a gradual crescendo of activity, is more interesting to watch before a game than most players are in play. In Philadelphia that night, what he did was, for him, anything but unusual. As he does before all games, he began by shooting set shots close to the basket, gradually moving back until he was shooting long sets from 20 feet out, and nearly all of them dropped into the net with an almost mechanical rhythm of accuracy. Then he began a series of expandingly difficult jump shots, and one jumper after another went cleanly through the basket with so few exceptions that the crowd began to murmur. Then he started to perform whirling reverse moves before another cadence of almost steadily accurate jump shots, and the murmur increased. Then he began to sweep hook shots into the air. He moved in a semicircle around the court. First with his right hand, then with his left, he tried seven of these long, graceful shots-the most difficult ones in the orthodoxy of basketball-and ambidextrously made them all. The game had not even begun, but the presumably unimpressible Philadelphians were applauding like an audience at an opera.

There was something else amusing about the house: the irony that the most important battle of the American Revolution--the shoot-out at the Old North Bridge--had taken place just outside the residence of the pacifist Ralph Waldo Emerson. True, Emerson was born after the battle in 1803, but his grandfather had been living in the house at the time of the Revolution, and the juxtaposition of such pacifism against such violence struck Paul as a symbol of an eternal truth about American history: Nixon, that goofy Vietnam War mortician, was right: the silent majority ruled (not the rebellious, pacifist fringe); the majority killed for their property; and there was nothing really revolutionary about the minutemen , who won a war and took over the entire country to ultimately build fast-food restaurants and Disneyland while abolitionists, pacifists, hippies, and environmentalists were left to make well-intended flatulent noises--to write poems such as Ginsberg's "Howl"--in books for other defeated noisemakers.

Only a few days after my encounter with the police, two patrolmen tackled Alton Sterling onto a car, then pinned him down on the ground and shot him in the chest while he was selling CDs in front of a convenience store, seventy-five miles up the road in Baton Rouge. A day after that, Philando Castile was shot in the passenger seat of his car during a police traffic stop in Falcon Heights, Minnesota, as his girlfriend recorded the aftermath via Facebook Live. Then, the day after Castile was killed, five policemen were shot dead by a sniper in Dallas. It felt as if the world was subsumed by cascades of unceasing despair. I mourned for the family and friends of Sterling and Castille. I felt deep sympathy for the families of the policemen who died. I also felt a real fear that, as a result of what took place in Dallas, law enforcement would become more deeply entrenched in their biases against black men, leading to the possibility of even more violence. The stream of names of those who have been killed at the hands of the police feels endless, and I become overwhelmed when I consider all the names we do not know—all of those who lost their lives and had no camera there to capture it, nothing to corroborate police reports that named them as threats. Closed cases. I watch the collective mourning transpire across my social-media feeds. I watch as people declare that they cannot get out of bed, cannot bear to go to work, cannot function as a human being is meant to function. This sense of anxiety is something I have become unsettlingly accustomed to. The familiar knot in my stomach. The tightness in my chest. But becoming accustomed to something does not mean that it does not take a toll. Systemic racism always takes a toll, whether it be by bullet or by blood clot.

Hollywood High School was flipping from the storied institute of legend to the high school of the barrio. Or, as CNN put it in a series of rave reviews for the “predominantly Latino” school: “Hollywood High Now a Diverse High School.” Hollywood High alumni include Cher, Carol Burnett, Lon Chaney, James Garner, Linda Evans, John Huston, Judy Garland, Ricky Nelson, Sarah Jessica Parker, John Ritter, Mickey Rooney, Lana Turner, and Fay Wray, among many others. By the mid-2000s, Hollywood High was more than 70 percent Hispanic,5 and students were less likely to be getting publicity shots than mug shots. Today the school is mostly famous for its stabbings, shootings, child molestations, thefts, and graffiti.6 Around 1990, a California TV producer trying to enroll a German exchange student in a Los Angeles high school asked the principal at Fairfax High if a foreign exchange student would be better served by Fairfax or Hollywood High. Without looking up, the principal replied, “Well, 90% of my students can speak English, and we haven’t had a shooting here in 5 years.

. . . [E]very single writer I met likened writing for television to one thing--laying track for an incoming speeding train. The story is the track and you gotta keep laying it down because of the train. That train is production. You keep writing, you keep laying track down, no matter what, because the train of production is coming toward you--no matter what. Every eight days, the crew needs to being to prepare a new episode--find locations, build sets, design costumes, find props, plan shots. And every eight days after that, the crew needs to film a new episode. Every eight days. Eight days to prep. Eight days to shoot. Eight days, eight days, eight days, eight days. Which means every eight days, that crew needs a brand-new script. And my job is to damn well provide them with one. Every. Eight. Days. That train of production is a'coming. Every eight days that crew on that soundstage better have something to shoot. Because the worst thing you can do is halt or derail production and cost the studio hundreds of thousands of dollars while everyone waits. That is how you go from being a TV writer to being a failed TV writer.

He drank a good deal at times. But the alcohol did not seem to affect him. His stony expression never changed. But sometimes a strange, flashing glance from his cold eyes would rest upon Anna, full of some burning fierceness that was like hatred, and he would force her to drink with him, force her to swallow a little glassful of fiery spirit at a single gulp. 'I ought to shoot you, really,' he said to her once, in a dead voice. 'Conscientiously, it would be the best thing for me to do.' She saw from the grave concentration on his face that his conscience did actually require him to kill her. And this puzzled her because she could not understand why her death should be a conscientious necessity. The thought of being shot did not seem to cause her any concern.

Let us have it plain: my society is comprised of metal-worshipers. They pray to metal, are owned by metal, and metal uses them; it shoots them, it stabs them. I witness its sycophants, grave zombies, moved about humorlessly as its agents. My minions are spiritually rapt as the ages climaxes in gunpowder. One notes that, upon first being handed a rifle -- by Burton or Speke? -- a chieftain blithely shot one of his own lackeys, expressing radiant joy as the man tumbled dead. Do not stop there, happy Klansman, but watch with me early in the morning as I come in from work: across the street here in the clean "burbs" your white policeman goes reverently to his car with a deer rifle coddled in his right arm like a precocious, beautiful child. This man lives with a pistol on his hip all week, but that is not enough, no, he is devout and it is the Christmas season. His own cowardice, affirmed by the use of guns, would not occur to him any more than the cowardice of God. The gun lobby, oh my peaceful friends, you may hate, but first you had better understand that it is a religion, only secondarily connected to the Bill of Rights. The thick-headed, sometimes even close to tearful, gaze you get when chatting with one of its partisans emanates from the view that they're holding a piece of God. There is no persuading them otherwise, even by a genus, because a life without guns implies the end of the known world to them. Any connection they make to our " pioneer past" is also a fraud, a wistful apology. Folks love a gun for what it can do. A murderer always thinks it was an accident, he says, as if a religious episode had passed over him.

If she’d known what a good shot you are,” he whispered past the unfamiliar tightness in his throat, “she’d never have dared.” His hand lifted to her wet cheek, holding it pressed against his chest. “You could always call her out, you know.” The spasmodic shaking in Elizabeth’s slender shoulders began to subside, and Ian added with forced tightness, “Better yet, Robert should stand in for you. He’s not as fine a shot as you are, but he’s a hell of a lot faster…” A teary giggle escaped the girl in his arms, and Ian continued, “On the other hand, if you’re holding the pistol, you’ll have some choices to make, and they’re not easy…” When he didn’t say more, Elizabeth drew a shaky breath. “What choices?” she finally whispered against his chest after a moment. “What to shoot, for one thing,” he joked, stroking her back. “Robert was wearing Hessians, so I had a tassel for a target. I suppose, though, you could always shoot the bow off Valerie’s gown.” Elizabeth’s shoulders gave a lurch, and a choked laugh escaped her. Overwhelmed with relief, Ian kept his left arm around her and gently took her chin between his forefinger and thumb, tipping her face up to his. Her magnificent eyes were still wet with tears, but a smile was trembling on her rosy lips. Teasingly, he continued, “A bow isn’t much of a challenge for an expert marksman like you. I suppose you could insist that she hold up an earring between her fingers so you could shoot that instead.” The image was so absurd that Elizabeth chuckled. Without being conscious of what he was doing, Ian moved his thumb from her chin to her lower lip, rubbing lightly against its inviting fullness. He finally realized what he was doing and stopped. Elizabeth saw his jaw tighten. She drew a shuddering breath, sensing he’d been on the verge of kissing her, and had just decided not to do it. After the last shattering minutes, Elizabeth no longer knew who was friend or foe, she only knew she’d felt safe and secure in his arms, and at that moment his arms were already beginning to loosen, and his expression was turning aloof. Not certain what she was going to say or even what she wanted, she whispered a single, shaky word, filled with confusion and a plea for understanding, her green eyes searching his: “Please-“ Ian realized what she was asking for, but he responded with a questioning lift of his brows. “I-“ she began, uncomfortably aware of the knowing look in his eyes. “Yes?” he prompted. “I don’t know-exactly,” she admitted. All she knew for certain was that, for just a few minutes more, she would have liked to be in his arms. “Elizabeth, if you want to be kissed, all you have to do is put your lips on mine.” “What!” “You heard me.” “Of all the arrogant-“ He shook his head in mild rebuke. “Spare me the maidenly protests. If you’re suddenly as curious as I am to find out if it was as good between us as it now seems in retrospect, then say so.” His own suggestion startled Ian, although having made it, he saw no great harm in exchanging a few kisses if that was what she wanted.

​In 2012, George Zimmerman left his home to follow and accost his neighbor, Trayvon Martin, who was walking through their gated community in Sanford, Florida. Zimmerman, who brought a gun to the encounter, shot and killed Martin because, as he said in his trial, he feared for his life. Zimmerman was found not guilty by a jury. In 2015, less than a mile from my home, four white men wearing ski masks appeared at a peaceful event protesting the recent killing of Jamar Clark by a white policeman. At least one of the four men, Allen Scarsella, carried a gun, which he allegedly described in a text message as “specially designed by Browning to kill brown people.” Protestors, most of whom were African American, noticed the four men in masks, surrounded them, and asked why they were there. They also demanded that the men remove their masks. Scarsella then drew his gun and shot five protestors. At his trial, Scarsella’s public defender explained that Scarsella fired the shots because he was “scared out of his mind.” These and other similar incidents raise some questions. First, under what circumstances is it legitimate to deliberately precipitate a conflict, shoot one or more people, and be considered guiltless because you were scared? Second, if “I feared for my life” or “I was scared out of my mind” becomes a legitimate defense, then can anyone who fears dark skin guiltlessly shoot any Black body that comes near? What about any Black body he or she seeks out, accosts, and shoots? Does your reflexive, lizard-brain fear of my dark body trump my right to exist? A Minnesota jury provided one answer to these questions in February of 2017: It found Scarsella guilty on all counts. He was given a fifteen-year prison sentence. A different Minnesota jury provided the opposite answer four months later: it found Jeronimo Yanez not guilty.

One of my favorite album covers is On the Beach. Of course that was the name of a movie and I stole it for my record, but that doesn't matter. The idea for that cover came like a bolt from the blue. Gary and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Ana to get the tail fin and fender from a 1959 Cadillac, complete with taillights, and watched them cut it off a Cadillac for us, then we went to a patio supply place to get the umbrella and table. We picke up the bad polyester yellow jacket and white pants at a sleazy men's shop, where we watched a shoplifter getting caught red-handed and busted. Gary and I were stoned on some dynamite weed and stood there dumbfounded watching the bust unfold. This girl was screaming and kicking! Finally we grabbed a local LA paper to use as a prop. It had this amazing headline: Sen. Buckley Calls For Nixon to Resign. Next we took the palm tree I had taken around the world on the Tonight's the Night tour. We then placed all of these pieces carefully in the sand at Santa Monica beach. Then we shot it. Bob Seidemann was the photographer, the same one who took the famous Blind Faith cover shot of the naked young girl holding the airplane. We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do.

Later that afternoon with the Germans already in Trafalgar Square and advancing down Whitehall to take their position in the rear, the enemy unit advancing across St. James 'Park made their final charge. Several of those in the Downing Street position were already dead... and at last the Bren ceased its chatter, its last magazine emptied. Churchill reluctantly abandoned the machine-gun, drew his pistol and with great satisfaction, for it was a notoriously inaccurate weapon, shot dead the first German to reach the foot of the steps. As two more rushed forward, covered by a third in the distance, Winston Churchill moved out of the shelter of the sandbags, as if personally to bar the way up Downing Street. A German NCO, running up to find the cause of the unexpected hold-up, recognised him and shouted to the soldiers not to shoot, but he was too late. A burst of bullets from a machine-carbine caught the Prime Minister in the chest. He died instantly, his back to Downing Street, his face toward the enemy, his pistol still in his hand.

I'm profoundly attracted to classical Zen literature, I have the gall to lecture on it and the literature of Mahayana Buddhism one night a week at college, but my life itself couldn't very conceivably be less Zenful than it is, and what little I've been able to apprehend - I pick that verb with care - of the Zen experience has been a by-result of following my own rather natural path of extreme Zenlessness. Largely because Seymour himself literally begged me to do so, and I never knew him to be wrong in these matters.) Happily for me, and probably for everybody, I don't believe it's really necessary to bring Zen into this. The method of marble-shooting that Seymour, by sheer intuition, was recommending to me can be related, I'd say, legitimately and un-Easternly, to the fine art of snapping a cigarette end into a small wastebasket from across a room. An art, I believe, of which most male smokers are true masters only when either they don't care a hoot whether or not the butt goes into the basket or the room has been cleared of eyewitnesses, including, quite so to speak, the cigarette snapper himself. I'm going to try hard not to chew on that illustration, delectable as I find it, but I do think it proper to append - to revert momentarily to curb marbles - that after Seymour himself shot a marble, he would be all smiles when he heard a responsive click of glass striking glass, but it never appeared to be clear to him whose winning click it was. And it's also a fact that someone almost invariably had to pick up the marble he'd won and hand it to him.

The more I know you, the more I wonder who you are.” He counted off her qualities on his fingers. “You have the accent of a lady. You dress like a peasant. You shoot like a marksman. You view the world cynically, yet you venerate Miss Victorine. Your face and body would be the envy of a young goddess, yet you sport an air of innocence. And that innocence hides a criminal mind and the cheek to pull off the most outrageous of felonies.” “So I’m Athena, the goddess of war.” “Definitely not Diana, the goddess of virginity.” As the last shot hit home, he saw Amy’s mask slip. Blood rushed to her face. She bit her lip and looked toward the stairs as if only now realizing she could have—should have—left this whole discussion behind. He laughed softly, triumphantly. “Or perhaps I’m mistaken. Perhaps you have more in common with Diana than I thought.” “Pray remember, sir, that Diana was also the goddess of the hunt.” Amy leaned across the table, intent on making her point—but the blush still played across her cheeks. “She carried a bow and arrow, and she always bagged her quarry. Have a look at the bullet hole in the rock behind you and remember my skill and my cynicism. For we do know things about each other. I know that if you escape, you’ll make sure I’m hung from a gibbet. You know that if I catch you escaping, I’ll shoot you through the heart. Remember that as you cast longing glances toward the window.” With a flourish, she picked up the breakfast tray and walked up the stairs. Jermyn had learned something else about Amy. She liked to have the last word.

One night, he left Stephen and me in the arcade and rushed off to a – this hurt my feelings – “real” game. That night, he missed a foul shot by two feet and made the mistake of admitting to the other players that his arms were tired from throwing miniature balls at a shortened hoop all afternoon. They laughed and laughed. ‘In the second overtime,’ Joel told me, ‘when the opposing team fouled me with four seconds left and gave me the opportunity to shoot from the line for the game, they looked mighty smug as they took their positions along the key. Oh, Pop-A-Shot guy, I could hear them thinking to their smug selves. He’ll never make a foul shot. He plays baby games. Wa-wa-wa, little Pop-A-Shot baby, would you like a zwieback biscuit? But you know what? I made those shots, and those songs of bitches had to wipe their smug grins off their smug faces and go home thinking that maybe Pop-A-Shot wasn’t such a baby game after all.” I think Pop-A-Shot’s a baby game. That’s why I love it. Unlike the game of basketball itself, Pop-A-Shot has no standard socially redeeming value whatsoever. Pop-A-Shot is not about teamwork or getting along or working together. Pop-A-Shot is not about getting exercise or fresh air. It takes place in fluorescent-lit bowling alleys or darkened bars. It costs money. At the end of a game, one does not swig Gatorade. One sips bourbon or margaritas or munches cupcakes. Unless one is playing the Super Shot version at the ESPN Zone in Times Square, in which case, one orders the greatest appetizer ever invented on this continent – a plate of cheeseburgers.

So,” Will begins, “do you play ball as well as you run?” I laugh a little. I can’t help it. He’s sweet and disarming and my nerves are racing. “Not even close.” The conversation goes no further as we move up in our lines. Catherine looks over her shoulder at me, her wide sea eyes assessing. Like she can’t quite figure me out. My smile fades and I look away. She can never figure me out. I can never let her. Never let anyone here. She faces me with her arms crossed. “You make friends fast. Since freshman year, I’ve spoken to like . . .” She paused and looks upward as though mentally counting. “Three, no—four people. And you’re number four.” I shrug. “He’s just a guy.” Catherine squares up at the free-throw line, dribbles a few times, and shoots. The ball swished cleanly through the net. She catches it and tosses it back to me. I try copying her moves, but my ball flies low, glides beneath the backboard. I head to the end of the line again. Will’s already waiting it half-court, letting others go before him. My face warms at his obvious stall. “You weren’t kidding,” he teases over the thunder of basketballs. “Did you make it?” I ask, wishing I had looked while he shot. “Yeah.” “Of course,” I mock. He lets another kid go before him. I do the same. Catherine is several ahead of me now. His gaze scans me, sweeping over my face and hair with deep intensity, like he’s memorizing my features. “Yeah, well. I can’t run like you.” I move up in line, but when I sneak a look behind me, he’s looking back, too. “Wow,” Catherine murmurs in her smoky low voice as she falls into line beside me. “I never knew it happened like that.” I snap my gaze to her. “What?” “You know. Romeo and Juliet stuff. Love at first sight and all that.” “It’s not like that,” I say quickly. “You could have fooled me.” We’re up again. Catherine takes her shot. It swishes cleanly through the hoop. When I shoot, the ball bounces hard off the backboard and flies wildly through the air, knocking the coach in the head. I slap a hand over my mouth. The coach barely catches herself from falling. Several students laugh. She glares at me and readjusts her cap. With a small wave of apology, I head back to the end of the line. Will’s there, fighting laughter. “Nice,” he says. “Glad I’m downcourt of you.” I cross my arms and resist smiling, resist letting myself feel good around him. But he makes it hard. I want to smile. I want to like him, to be around him, to know him. “Happy to amuse you.” His smile slips then, and he’s looking at me with that strange intensity again. Only I understand. I know why. He must remember . . . must recognize me on some level even though he can’t understand it. “You want to go out?” he asks suddenly. I blink. “As in a date?” “Yes. That’s what a guy usually means when he asks that question.

Yes.” I sniff. I love him like you might love a star. “Yes, you did?” He stares over at me. I nod. “Yes.” His eyes go funny, sort of blurry—he blinks twice and then he yells “Fuck!” way too loudly to be anything close to discreet. My head pulls back and I tense up. “Shit.” He breathes out, shaking his head. “Fuck—” I watch on in mild horror. “Are you ok—” “Say it.” “What?” I stare over at him. “Can you, please? Say it?” he asks. “Now. Out loud—” He shakes his head at himself. “Just so I’ve heard you say it one time.” I open my mouth to protest for a reason I don’t know why and then I stop myself, swallow and look him in the eye. “I loved you.” He nods a couple of times then closes his eyes for a few seconds, blows some air out of his mouth. “I have to ask—” He looks back over at me, eyes all heavy now. “Was I ever in with a shot?” He is a star. Not the shooting kind. Not some flash-in-the-pan meteorite that burns up on entry into the atmosphere. And stars, they’re undeniably beautiful, kind of magical. Only come out at the nighttime. Easy enough to ignore. In a sky full of them, a single star can be difficult to tell apart from the others. They don’t affect our day-to-day lives, really. You might see it one night and not the next, and it bears no real consequence other than perhaps the sky is a little less wonderful on that particular evening. A star is a star. “In this world,” I give him a delicate look, “with BJ?” I shake my head. “I’m sorry.” “That’s—” He trails, letting out this hollow laugh that I kind of hate. It doesn’t suit him. His regular laugh is so wonderful. “—fine.” He nods. “That’s good to know, actually—” “I’m sorry,” I tell him. He shakes his head again. “No, don’t be.” But you see, the thing about stars is that in another galaxy, that star is also a sun. “If it wasn’t him, it would be you,” I tell him, for better and for worse. He blows some more air out of his mouth and catches my eye. “In another life, yeah?” I nod and offer him a weak smile. “I’ll meet you there.

Catching my breath, I lean against the front of the car and focus on the individual blades of grass hedging my flip-flop, trying not to throw up or pass out or both. In the far distance, a vehicle approaches-the first one to witness the scene of our accident. A million explanations run through my mind, but I can’t imagine a single scenario that would solve all-or any-of our issues right now. None of us can risk going to the hospital. Mom technically doesn’t qualify as human, so I’m sure we’d get a pretty interesting diagnosis. Rachel is technically supposed to be deceased as of the last ten years or so, and while she probably has a plethora of fake IDs, she’s still antsy around cops, which will surely be called to the hospital in the event of a gunshot wound, even if it is just in the foot. And let’s not forget that Mom and Rachel are new handcuff buddies. There just isn’t an explanation for any of this. That’s when I decide I’m not the one who should do the talking. After all, I didn’t kidnap anyone. I didn’t shoot anyone. And I certainly didn’t handcuff myself to the person who shot me. Besides, both Mom and Rachel are obviously much more skilled at deception then I’ll ever be. “If someone pulls over to help us, one of you is explaining all this,” I inform them. “You’ll probably want to figure it out fast, because here comes a car.” But the car comes and goes without even slowing. In fact, a lot of cars come and go, and if the situation weren’t so strange and if I weren’t so thankful that they didn’t actually stop, I’d be forced to reexamine what the world is coming to, not helping strangers in an accident. Then it occurs to me that maybe the passerby don’t realize it’s the scene of an accident. Mom’s car is in the ditch, but the ditch might be steep enough to hide it. It’s possible that no one can even see Rachel and Mom from the side of the road. Still, I am standing at the front of Rachel’s car. An innocent-looking teenage girl just loitering for fun in the middle of nowhere and no one cares to stop? Seriously? Just as I decide that people suck, a vehicle coming from the opposite direction slows and pulls up a few feet behind us. It’s not a good Samaritan traveler pulling over to see what he or she can do to inadvertently complicate things. It’s not an ambulance. It’s not a state trooper. If only we could be so lucky. But, nope, it’s way worse. Because it’s Galen’s SUV. From where I stand, I can see him looking at me from behind the wheel. His face is stricken and tried and relieved and pained. I want to want to want to believe the look in his eyes right now. The look that clearly says he’s found what he’s looking for, in more ways than one.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

For a long minute he gazed at her, his eyes searching the features of that face he'd grown to love so deeply over the years, his memory bringing up images of the past as he did so. The young determination in her face as, in the middle of a blazing firefight, she'd grabbed Luke's blaster rifle away from him and shot them an escape route into the Death Star's detention-level garbage chute. The sound of her voice in the middle of deadly danger at Jabba's, helping him through the blindness and tremor and disorientation of hibernation sickness. The wiser, more mature determination visible through the pain in her eyes as, lying wounded outside the Endor bunker, she had nevertheless summoned the skill and control to coolly shoot two stormtroopers off Han's back. And he remembered, too, the wrenching realization he'd had at that same time: that no matter how much he tried, he would never be able to totally protect her from the dangers and risks of the universe. Because no matter how much he might love her--no matter how much he might give of himself to her--she could never be content with that alone. Her vision extended beyond him, just as it extended beyond herself, to all the beings of the galaxy. And to take that away from her, whether by force or even by persuasion, would be to diminish her soul. And to take away part of what he'd fallen in love with in the first place.

It was December 15, 2012, the day after twenty-year-old Adam Lanza fatally shot twenty children between six and seven years old, as well as six adult staff members, at Sandy Hook Elementary School in Newtown, Connecticut. I remember thinking, Maybe if all the mothers in the world crawled on their hands and knees toward those parents in Newtown, we could take some of the pain away. We could spread their pain across all of our hearts. I would do it. Can’t we find a way to hold some of it for them? I’ll take my share. Even if it adds sadness to all my days. My friends and I didn’t rush to start a fund that day. We didn’t storm the principal’s office at our kids’ school asking for increased security measures. We didn’t call politicians or post on Facebook. We would do all that in the days to come. But the day right after the shooting, we just sat together with nothing but the sound of occasional weeping cutting through the silence. Leaning in to our shared pain and fear comforted us. Being alone in the midst of a widely reported trauma, watching endless hours of twenty-four-hour news or reading countless articles on the Internet, is the quickest way for anxiety and fear to tiptoe into your heart and plant their roots of secondary trauma. That day after the mass killing, I chose to cry with my friends, then I headed to church to cry with strangers. I couldn’t have known then that in 2017 I would speak at a fund-raiser for the Resiliency Center of Newtown and spend time sitting with a group of parents whose children were killed at Sandy Hook. What I’ve learned through my work and what I heard that night in Newtown makes one thing clear: Not enough of us know how to sit in pain with others. Worse, our discomfort shows up in ways that can hurt people and reinforce their own isolation. I have started to believe that crying with strangers in person could save the world. Today there’s a sign that welcomes you to Newtown: WE ARE SANDY HOOK. WE CHOOSE LOVE. That day when I sat in a room with other mothers from my neighborhood and cried, I wasn’t sure what we were doing or why. Today I’m pretty sure we were choosing love in our own small way.

So what's going on with you and your boyfriend?" Eli asked me right before he shoved a forkful of eggs into his mouth during breakfast the next morning. I made a face in the direction of my plate before shooting a glance upward to find Gordo’s eyes on me, a smirk on his face. "Mason?" I asked, going back to my food. Eli made a gagging noise, elbowing me hard in the ribs. "I'm not gonna go into details on how disturbing it is that I say ‘your boyfriend’ and you automatically think of fucking Mase." "He's always calling me his wife, or telling people I don't know that we're getting married," I replied, elbowing him back as hard as he got me. It was partially the truth… but mostly, I didn’t want to talk about the man who had been kissing my shoulder hours ago. "I love Mase, but it'll be a sunny day in my asshole before you and him get together," he mumbled. I snorted, biting into my biscuit. "Who the heck else would you be talking about?" I asked, but I knew. Oh, I knew damn well he was referring to Sacha. Freaking Gordo snickered from across the table before putting his hands up in surrender when I glared at him. "I didn’t say anything." "Sacha, Flabby. Sacha. Your boyfriend. Your snuggle bug." Eliza finally answered. Suddenly the half-eaten biscuit on my plate needed to be eaten immediately. I shoved the entire piece into my mouth to avoid the conversation my brother was trying to edge into. I'd had talks about boys with Eli in the past, and they never ended—or started—well. "There's nothing going on between us. We're just friends." Because we were. Eli made a noise that sounded like “hmmph” deep in his throat. It was incredulous and disbelieving. Then he asked the question to prove it, his attention back on his band mate. "Gordo, do you think I'm blind?" Gordo shook his head. "Gaby, do you think I'm blind?" he asked. "Not blind, just dumb.” I smiled. He shot me a frown. A moment later, he threw his arm over my shoulders and started shoving his plate away with his free hand. "Flabby Gaby, that kid is in love with you." In love. With me? I leaned forward and tried to sniff his breath. “Are you still drunk?” But my brother kept talking before I could keep going. "Anyone with eyes and ears knows that guy thinks you shit out Lucky Charms." Gordo and I burst out laughing. "Is that a good thing?" I asked him. Eliza shoved my face away with his palm, ignoring my commentary again. "And I think that you love him, too." The noise that came out of my mouth sounded like a hybrid “moo” and squawk at the same time. "I—,” I slammed my mouth shut before opening it again with a sputter. “What?

Then, suddenly, a shadowy flash came to me. Tiffany, taking an order, arguing with a girl. Shockingly, not me. Another flash, of Detective Toscano walking into Yummy’s minutes ago. Tiffany nervously kneading a coaster between her fingers. The coaster I held in my hands right now. Tiffany was scared. Why was she scared of the cop? “Hey! Space shot! You want your Coke or not?” I tried to ignore Tiffany’s screeching and hold on to the vision, but it blurred and disappeared. I grabbed my new glass from her outstretched hand. “I heard you got into an argument last night,” I said. Tiffany paled, which I never thought possible since her skin was so fake-and-bake tan. She nervously twirled a lock of her bleach blond hair around her finger. “Where did you hear that?” “Doesn’t matter where I heard it.” I took a chance and added, “But it was pretty juicy gossip, considering who she was.” Tiffany’s pale face turned to green and I involuntarily took a step back ,half expecting an Exorcist-style stream of vomit to shoot out of her gaping mouth. Instead, she narrowed her eyes and leaned closer. “Get away from me,” she growled. And then it became clear. My flash of her argument. Her fear of the detective. She’d argued with the girl who was murdered last night. And she did not want Detective Toscano to find out about it. I stepped away from the bar, giddy with my new knowledge. I had the upper hand on Tiffany Desposito. I could torture her with this. Drag it out. Hold it over her head for days, even weeks. “It’s too bad you’re not with Justin anymore,” she said to my back. “He’s a cutie. And such a good kisser.” And that was my limit. I spun around and dumped my brand-new Coke over her head. She shrieked and flailed her hands as the liquid streamed over her face and down between her giant boobs. She peeled her sticky hair off her eyes and snarled, “I’ll get you for this.” I merely smiled, then sauntered over to the two Toscanos, who had apparently been watching this whole display with entertained grins on their faces. “You’re the new detective?” I asked the elder Toscano. He nodded. Either his mouth was too full with French fries or he was too scared of me to speak at the moment. “Tiffany Desposito, the wet and sticky waitress over there? She had a fight with the girl who was murdered. Last night, at this restaurant. You should question her right away. I wouldn’t even give her a chance to go home and shower first. I think she’s a flight risk.” I strolled back to my booth, sat down, and tore into my pancakes, happy as a kid on Christmas. Nate and Perry stared at me in silence for a few moments. Then Perry said, “Maybe you should have let me go over.” Nate shook his head. “Nah. She did just fine.

I select the right practice gun, the one about the size of a pistol, but bulkier, and offer it to Caleb. Tris’s fingers slide between mine. Everything comes easily this morning, every smile and every laugh, every word and every motion. If we succeed in what we attempt tonight, tomorrow Chicago will be safe, the Bureau will be forever changed, and Tris and I will be able to build a new life for ourselves somewhere. Maybe it will even be a place where I trade my guns and knives for more productive tools, screwdrivers and nails and shovels. This morning I feel like I could be so fortunate. I could. “It doesn’t shoot real bullets,” I say, “but it seems like they designed it so it would be as close as possible to one of the guns you’ll be using. It feels real, anyway.” Caleb holds the gun with just his fingertips, like he’s afraid it will shatter in his hands. I laugh. “First lesson: Don’t be afraid of it. Grab it. You’ve held one before, remember? You got us out of the Amity compound with that shot.” “That was just lucky,” Caleb says, turning the gun over and over to see it from every angle. His tongue pushes into his cheek like he’s solving a problem. “Not the result of skill.” “Lucky is better than unlucky,” I say. “We can work on skill now.” I glance at Tris. She grins at me, then leans in to whisper something to Christina. “Are you here to help or what, Stiff?” I say. I hear myself speaking in the voice I cultivated as an initiation instructor, but this time I use it in jest. “You could use some practice with that right arm, if I recall correctly. You too, Christina.” Tris makes a face at me, then she and Christina cross the room to get their own weapons. “Okay, now face the target and turn the safety off,” I say. There is a target across the room, more sophisticated, than the wooden-board target in the Dauntless training rooms. It has three rings in three different colors, green, yellow, and red, so it’s easier to tell where the bullets it. “Let me see how you would naturally shoot.” He lifts up the gun with one hand, squares off his feet and shoulders to the target like he’s about to lift something heavy, and fires. The gun jerks back and up, firing the bullet near the ceiling. I cover my mouth with my hand to disguise my smile. “There’s no need to giggle,” Caleb says irritably. “Book learning doesn’t teach you everything, does it?” Christina says. “You have to hold it with both hands. It doesn’t look as cool, but neither does attacking the ceiling.” “I wasn’t trying to look cool!” Christina stands, her legs slightly uneven, and lifts both arms. She stares the target for a moment, then fires. The training bullet hits the outer circle of the target and bounces off, rolling on the floor. It leaves a circle of light on the target, marking the impact site. I wish I’d had this technology during initiation training. “Oh, good,” I say. “You hit the air around your target’s body. How useful.” “I’m a little rusty,” Christina admits, grinning.

The Smiths were unable to conceive children and decided to use a surrogate father to start their family. On the day the surrogate father was to arrive, Mr. Smith kissed his wife and said, "I'm off. The man should be here soon" Half an hour later, just by chance a door-to-door baby photographer rang the doorbell, hoping to make a sale. "Good morning, madam. I've come to...." "Oh, no need to explain. I've been expecting you," Mrs. Smith cut in. "Really?" the photographer asked. "Well, good. I've made a specialty of babies" "That's what my husband and I had hoped. Please come in and have a seat" After a moment, she asked, blushing, "Well, where do we start?" "Leave everything to me. I usually try two in the bathtub, one on the couch and perhaps a couple on the bed. Sometimes the living room floor is fun too; you can really spread out!" "Bathtub, living room floor? No wonder it didn't work for Harry and me" "Well, madam, none of us can guarantee a good one every time. But, if we try several different positions and I shoot from six or seven different angles, I'm sure you'll be pleased with the results" "My, that's a lot of....." gasped Mrs. Smith. "Madam, in my line of work, a man must take his time. I'd love to be in and out in five minutes, but you'd be disappointed with that, I'm sure"  "Don't I know it," Mrs. Smith said quietly. The photographer opened his briefcase and pulled out a portfolio of his baby pictures. "This was done on the top of a bus in downtown London" "Oh my God!" Mrs. Smith exclaimed, tugging at her handkerchief. "And these twins turned out exceptionally well, when you consider their mother was so difficult to work with" "She was difficult?" asked Mrs. Smith. "Yes, I'm afraid so. I finally had to take her to Hyde Park to get the job done right. People were crowding around four and five deep, pushing to get a good look" "Four and five deep?" asked Mrs. Smith, eyes widened in amazement. "Yes," the photographer said, "And for more than three hours too. The mother was constantly squealing and yelling. I could hardly concentrate. Then darkness approached and I began to rush my shots. Finally, when the squirrels began nibbling on my equipment, I just packed it all in." Mrs. Smith leaned forward. "You mean squirrels actually chewed on your, um......equipment?" "That's right. Well, madam, if you're ready, I'll set up my tripod so we  can get to work." "Tripod?????" "Oh yes, I have to use a tripod to rest my Canon on. It's much too big for me to hold for very long. Madam? Madam? ....... Good Lord, she's fainted!!

I struggle with an embarrassing affliction, one that as far as I know doesn’t have a website or support group despite its disabling effects on the lives of those of us who’ve somehow contracted it. I can’t remember exactly when I started noticing the symptoms—it’s just one of those things you learn to live with, I guess. You make adjustments. You hope people don’t notice. The irony, obviously, is having gone into a line of work in which this particular infirmity is most likely to stand out, like being a gimpy tango instructor or an acrophobic flight attendant. The affliction I’m speaking of is moral relativism, and you can imagine the catastrophic effects on a critic’s career if the thing were left to run its course unfettered or I had to rely on my own inner compass alone. To be honest, calling it moral relativism may dignify it too much; it’s more like moral wishy-washiness. Critics are supposed to have deeply felt moral outrage about things, be ready to pronounce on or condemn other people’s foibles and failures at a moment’s notice whenever an editor emails requesting twelve hundred words by the day after tomorrow. The severity of your condemnation is the measure of your intellectual seriousness (especially when it comes to other people’s literary or aesthetic failures, which, for our best critics, register as nothing short of moral turpitude in itself). That’s how critics make their reputations: having take-no-prisoners convictions and expressing them in brutal mots justes. You’d better be right there with that verdict or you’d better just shut the fuck up. But when it comes to moral turpitude and ethical lapses (which happen to be subjects I’ve written on frequently, perversely drawn to the topics likely to expose me at my most irresolute)—it’s like I’m shooting outrage blanks. There I sit, fingers poised on keyboard, one part of me (the ambitious, careerist part) itching to strike, but in my truest soul limply equivocal, particularly when it comes to the many lapses I suspect I’m capable of committing myself, from bad prose to adultery. Every once in a while I succeed in landing a feeble blow or two, but for the most part it’s the limp equivocator who rules the roost—contextualizing, identifying, dithering. And here’s another confession while I’m at it—wow, it feels good to finally come clean about it all. It’s that … once in a while, when I’m feeling especially jellylike, I’ve found myself loitering on the Internet in hopes of—this is embarrassing—cadging a bit of other people’s moral outrage (not exactly in short supply online) concerning whatever subject I’m supposed to be addressing. Sometimes you just need a little shot in the arm, you know? It’s not like I’d crib anyone’s actual sentences (though frankly I have a tough time getting as worked up about plagiarism as other people seem to get—that’s how deep this horrible affliction runs). No, it’s the tranquillity of their moral authority I’m hoping will rub off on me. I confess to having a bit of an online “thing,” for this reason, about New Republic editor-columnist Leon Wieseltier—as everyone knows, one of our leading critical voices and always in high dudgeon about something or other: never fearing to lambaste anyone no matter how far beneath him in the pecking order, never fearing for a moment, when he calls someone out for being preening or self-congratulatory, as he frequently does, that it might be true of himself as well. When I’m in the depths of soft-heartedness, a little dose of Leon is all I need to feel like clambering back on the horse of critical judgment and denouncing someone for something.