Short Billiards Quotes

It was more wonderful than making love with a negro boxer on Mr Singer’s billiard table.

With children he was playful in that particularly spiteful Sicilian style which is one of the less pleasant sides of the island character; he would nip their ears with his scissors and sometimes cut their hair so short that their heads looked like billiard balls.

It is still a fairly astounding notion to consider that atoms are mostly empty space, and that the solidity we experience all around us is an illusion. When two objects come together in the real world – billiard balls are most often used for illustration – they don’t actually strike each other. ‘Rather,’ as Timothy Ferris explains, ‘the negatively charged fields of the two balls repel each other … [W]ere it not for their electrical charges they could, like galaxies, pass right through each other unscathed26.’ When you sit in a chair, you are not actually sitting there, but levitating above it at a height of one angstrom (a hundred millionth of a centimetre), your electrons and its electrons implacably opposed to any closer intimacy.

Lord Bourne knows precisely where I've been and with whom for the duration of our short, disastrous marriage." She stepped toward Michael, her offense making her bold. "Home, alone. Instead of here, where the female half of London is apparently wishing they had the password to his bed." His eyes went wide. "I would appreciate it if you would leave, Michael," she added, tossing the mask and the rose to the billiard table. "You see, I've been looking forward to this billiards lesson. And you are making it very difficult to enjoy.

atoms are mostly empty space, and that the solidity we experience all around us is an illusion. When two objects come together in the real world—billiard balls are most often used for illustration—they don’t actually strike each other. “Rather,” as Timothy Ferris explains, “the negatively charged fields of the two balls repel each other …

You see the river has overflowed its banks as well." "Good gracious! Have any lives been lost?" "Heaps, I should say. The second housemaid has already identified three bodies that have floated past the billiard-room window as being the young man she's engaged to. Either she's engaged to a large assortment of the population round here or else she's very careless at identification. Of course it may be the same body coming round again and again in a swirl; I hadn't thought of that.

Let us pause for a moment and consider the structure of the atom as we know it now. Every atom is made from three kinds of elementary particles: protons, which have a positive electrical charge; electrons, which have a negative electrical charge; and neutrons, which have no charge. Protons and neutrons are packed into the nucleus, while electrons spin around outside. The number of protons is what gives an atom its chemical identity. An atom with one proton is an atom of hydrogen, one with two protons is helium, with three protons is lithium, and so on up the scale. Each time you add a proton you get a new element. (Because the number of protons in an atom is always balanced by an equal number of electrons, you will sometimes see it written that it is the number of electrons that defines an element; it comes to the same thing. The way it was explained to me is that protons give an atom its identity, electrons its personality.) Neutrons don't influence an atom's identity, but they do add to its mass. The number of neutrons is generally about the same as the number of protons, but they can vary up and down slightly. Add a neutron or two and you get an isotope. The terms you hear in reference to dating techniques in archeology refer to isotopes—carbon-14, for instance, which is an atom of carbon with six protons and eight neutrons (the fourteen being the sum of the two). Neutrons and protons occupy the atom's nucleus. The nucleus of an atom is tiny—only one millionth of a billionth of the full volume of the atom—but fantastically dense, since it contains virtually all the atom's mass. As Cropper has put it, if an atom were expanded to the size of a cathedral, the nucleus would be only about the size of a fly—but a fly many thousands of times heavier than the cathedral. It was this spaciousness—this resounding, unexpected roominess—that had Rutherford scratching his head in 1910. It is still a fairly astounding notion to consider that atoms are mostly empty space, and that the solidity we experience all around us is an illusion. When two objects come together in the real world—billiard balls are most often used for illustration—they don't actually strike each other. “Rather,” as Timothy Ferris explains, “the negatively charged fields of the two balls repel each other . . . were it not for their electrical charges they could, like galaxies, pass right through each other unscathed.” When you sit in a chair, you are not actually sitting there, but levitating above it at a height of one angstrom (a hundred millionth of a centimeter), your electrons and its electrons implacably opposed to any closer intimacy.

A strange thing happened to me at those Von Rabbeks’,” he began, trying to put an indifferent and ironical tone into his voice. “You know I went into the billiard-room...” He began describing very minutely the incident of the kiss, and a moment later relapsed into silence... In the course of that moment he had told everything, and it surprised him dreadfully to find how short a time it took him to tell it. He had imagined that he could have

The sooner we can face the bizarre fact that we make our past in the process of finding it, and find it in the process of making it, the sooner our attitude can become one of care for our Long Self in the block universe. Dream journaling with an eye to precognition—precognitive dreamwork—is the first step. But you may find, as you build up a corpus of precognitive dreams and come face to face with the reality of that Long Self on a daily or near-daily basis, that mapping out those dream connections and reexploring what may have seemed like dead-and-gone territory—your past life, however meandering it may have seemed at the time, however traumatic it may have been, even—starts to brings even more amazing rewards and insights than just identifying discrete precognitive dream hits. This is because even if we can’t change the past or future, precognition (and the retrocausation it implies) changes everything we thought we knew about both. It is redemptive. We see our past and future selves unclearly and obliquely. But in fact, the distance between you now and you decades from now, or decades ago, may be just a wrinkled piece of cellophane. When we realize that our major upheavals in the second half of life may actually have been the billiard balls deflecting us when we were younger, it compels a new kind of sympathy and understanding for that immature being we once were—and by extension, a new kind of loyalty to the person we will become. The Long Self is truly an epic composition, and you are the one composing it. Like a writer of your soul, your aesthetic decisions now turn out to have shaped yourself long in the past, and your decisions in your future are shaping your experience now. Tobi characterizes it this way: “I believe we are involved in creating the already-written lives that we enact.” To consciously manifest and realize this amazing fact, you must build habits of self-care. Recognize that care for yourself at other ages is not just an attitude but has a real effect, a real outcome in the past—and via the past, in your future. “This is the part of the route without a short cut,” Tobi insists. “You must do the tasks, you must care.” Tobi wrote in another email: “It delights me to think that all those times I wished aloud to my family that I could go back and assure my younger self and the younger selves of my family members that we got through that time, that all would be well, that we survived, that I actually was doing that.

Gentlemen," Lily informed the room at large, "I came to tell you I must abandon the game to show my new guest 'round the house. Lansdale, perhaps you would take my place at the table?" "He will, but not half so attractively," someone remarked. There were assorted chuckles around the room. Lansdale, a middle-aged man of unusually short stature but possessing a handsome aquiline face, regarded Sara with bold interest. "Perhaps, Lady Raiford, you would keep to the billiards game and allow me to show your guest around." Sara blushed at the suggestion, while several of the men laughed. Rolling her eyes, Lily addressed a remark to Sara. "Watch out for that one, my lamb. In fact, don't trust a single of these men. I know them all, and I can vouch for the fact that underneath those attractive exteriors is a pack of wolves." Sara could see how Lily's remark pleased the men, who clearly liked to think of themselves as predators, paunches and receding hairlines notwithstanding.

Like Wheeler and Feynman, Cramer proposed that the wavefunction of a particle moving forward in time is just one of two relevant waves determining its behavior. The retarded wave in Cramer’s theory is complemented by a response wave that travels specifically from the particle’s destination, in temporal retrograde. In his theory, a measurement, or an interaction, amounts to a kind of “handshake agreement” between the forward-in-time and backward-in-time influences.13 This handshake can extend across enormous lengths of time, if we consider what happens when we view the sky at night. As Cramer writes: When we stand in the dark and look at a star a hundred light years away, not only have the retarded waves from the star been traveling for a hundred years to reach our eyes, but the advanced waves generated by absorption processes within our eyes have reached a hundred years into the past, completing the transaction that permitted the star to shine in our direction.14 Cramer may not have been aware of it, but his poetic invocation of the spacetime greeting of the eye and a distant star, and the transactional process that would be involved in seeing, was actually a staple of medieval and early Renaissance optics. Before the ray theory of light emerged in the 1600s, it was believed that a visual image was formed when rays projecting out from the eye interacted with those coming into it. It goes to show that everything, even old physics, comes back in style if you wait long enough—and it is another reason not to laugh too hard, or with too much self-assurance, at hand-waving that seems absurd from one’s own limited historical or scientific standpoint. In short: Cramer’s and Aharonov’s theories both imply a backward causal influence from the photon’s destination. The destination of the photon “already knows” it is going to receive the photon, and this is what enables it to behave with the appropriate politeness. Note that neither of these theories have anything to do with billiard balls moving in reverse, a mirror of causation in which particles somehow fly through spacetime and interact in temporal retrograde. That had been the idea at the basis of Gerald Feinberg’s hypothesized tachyons, particles that travel faster than light and thus backward in time. It inspired a lot of creative thinking about the possibilities of precognition and other forms of ESP in the early 1970s (and especially inspired the science-fiction writer Philip K. Dick), but we can now safely set aside that clunky and unworkable line of thinking as “vulgar retrocausation.” No trace of tachyons has turned up in any particle accelerator, and they don’t make sense anyway. What we are talking about here instead is an inflection of ordinary particles’ observable behavior by something ordinarily unobservable: measurements—that is, interactions—that lie ahead in those particles’ future histories. Nothing is “moving” backwards in time—and really, nothing is “moving” forwards in time either. A particle’s twists and turns as it stretches across time simply contain information about both its past and its future.

He sucked in a breath as her hand settled on the hot steel of him. "Penelope..." The word was lost in a groan. She wanted to touch him, to learn him, to give him all the pleasure that he was giving her. "Show me how. Teach me." His eyes were black with pleasure, and he moved his other hand to guide her, showing her just how to touch, just how to stroke. When he groaned, long and lovely, she leaned forward and kissed his cheek softly, whispering against his skin. "This is much more interesting than billiards." He laughed harshly at the words. "I couldn't agree more." "You're so smooth," she said, stroking his length, marveling at the feel of him. "So hard." He closed his eyes as she touched him, and she watched his face, enjoying the play of pleasure across it. She rubbed one thumb firmly across the tip, and he gasped, his eyes opening to slits. "Do that again." She did, and he pulled her to him to kiss her long and deep as she continued her exploration, his hands on hers, showing her how to move, where to linger, how much pressure to exert. His head tilted back, and his breath came in short, pained spurts. "Is this all right?" He groaned at the question. "It's perfect. I never want you to stop." She was not interested in stopping. She loved watching him take pleasure.

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