Six Word Story Quotes

Stories, like people and butterflies and songbirds' eggs and human hearts and dreams, are also fragile things, made up of nothing stronger or more lasting than twenty-six letters and a handful of punctuation marks. Or they are words on the air, composed of sounds and ideas-abstract, invisible, gone once they've been spoken-and what could be more frail than that? But some stories, small, simple ones about setting out on adventures or people doing wonders, tales of miracles and monsters, have outlasted all the people who told them, and some of them have outlasted the lands in which they were created.

It is what I have always loved about music. Not the sounds or the crowds or the good times as much as the words -- the emotions, the stories, the truth -- that you can let flow right out of your mouth. Music can dig, you know? It can take a shovel to your chest and just start digging until you hit something.

If you stop to think about it, you’ll have to admit that all the stories in the world consist essentially of twenty-six letters. The letters are always the same, only the arrangement varies. From letters words are formed, from words sentences, from sentences chapters, and from chapters stories.

Words Be careful of words, even the miraculous ones. For the miraculous we do our best, sometimes they swarm like insects and leave not a sting but a kiss. They can be as good as fingers. They can be as trusty as the rock you stick your bottom on. But they can be both daisies and bruises. Yet I am in love with words. They are doves falling out of the ceiling. They are six holy oranges sitting in my lap. They are the trees, the legs of summer, and the sun, its passionate face. Yet often they fail me. I have so much I want to say, so many stories, images, proverbs, etc. But the words aren't good enough, the wrong ones kiss me. Sometimes I fly like an eagle but with the wings of a wren. But I try to take care and be gentle to them. Words and eggs must be handled with care. Once broken they are impossible things to repair.

It is what I have always loved about music. Not the sounds or the crowds or the good times as much as the words- the emotions, and the stories, the truth- that you can let flow right out of your mouth.

What did she say?” asked Matthias. Nina coughed and took his arm, leading him away. “She said you’re a very nice fellow, and a credit to the Fjerdan race. Ooh, look, blini! I haven’t had proper blini in forever.” “That word she used: babink,” he said. “You’ve called me that before. What does it mean?” Nina directed her attention to a stack of paper-thin buttered pancakes. “It means sweetie pie.” “Nina—” “Barbarian.” “I was just asking, there’s no need to name-call.” “No, babink means barbarian.” Matthias’ gaze snapped back to the old woman, his glower returning to full force. Nina grabbed his arm. It was like trying to hold on to a boulder. “She wasn’t insulting you! I swear!” “Barbarian isn’t an insult?” he asked, voice rising. “No. Well, yes. But not in this context. She wanted to know if you’d like to play Princess and Barbarian.” “It’s a game?” “Not exactly.” “Then what is it?” Nina couldn’t believe she was actually going to attempt to explain this. As they continued up the street, she said, “In Ravka, there’s a popular series of stories about, um, a brave Fjerdan warrior—” “Really?” Matthias asked. “He’s the hero?” “In a manner of speaking. He kidnaps a Ravkan princess—” “That would never happen.” “In the story it does, and”—she cleared her throat—“they spend a long time getting to know each other. In his cave.” “He lives in a cave?” “It’s a very nice cave. Furs. Jeweled cups. Mead.” “Ah,” he said approvingly. “A treasure hoard like Ansgar the Mighty. They become allies, then?” Nina picked up a pair of embroidered gloves from another stand. “Do you like these? Maybe we could get Kaz to wear something with flowers. Liven up his look.” “How does the story end? Do they fight battles?” Nina tossed the gloves back on the pile in defeat. “They get to know each other intimately.” Matthias’ jaw dropped. “In the cave?” “You see, he’s very brooding, very manly,” Nina hurried on. “But he falls in love with the Ravkan princess and that allows her to civilize him—” “To civilize him?” “Yes, but that’s not until the third book.” “There are three?” “Matthias, do you need to sit down?” “This culture is disgusting. The idea that a Ravkan could civilize a Fjerdan—” “Calm down, Matthias.” “Perhaps I’ll write a story about insatiable Ravkans who like to get drunk and take their clothes off and make unseemly advances toward hapless Fjerdans.” “Now that sounds like a party.” Matthias shook his head, but she could see a smile tugging at his lips. She decided to push the advantage. “We could play,” she murmured, quietly enough so that no one around them could hear. “We most certainly could not.” “At one point he bathes her.” Matthias’ steps faltered. “Why would he—” “She’s tied up, so he has to.” “Be silent.” “Already giving orders. That’s very barbarian of you. Or we could mix it up. I’ll be the barbarian and you can be the princess. But you’ll have to do a lot more sighing and trembling and biting your lip.” “How about I bite your lip?” “Now you’re getting the hang of it, Helvar.

Lightning hides the colour of night

It is what I have always loved about music. Not the sounds of the crowds or the good times as much as the words - the emotions, and the stories, the truth- that you can let flow right out of your mouth. Music can dig, you know? It can take a shovel to your chest and just start digging until it hits something.

Protect your dreams from your nightmare

Faster is fatal, slower is safe.

Sometimes all it takes to help someone survive anything brutal are those six words: 'None of it was your fault.

It takes me six months to do a story. I think it out and then write it sentence by sentence - no first draft. I can’t write five words but that I change seven.

in other words, his story was part boast, part confession.

Moments give birth to new memories

Beginner knows rules, but veterans know exceptions.

Don’t dash off a six-thousand-word story before breakfast. Don’t write too much. Concentrate your sweat on one story, rather than dissipate it over a dozen. Don’t loaf and invite inspiration; light out after it with a club, and if you don’t get it you will none the less get something that looks remarkably like it. Set yourself a “stint,” [London wrote 1,000 words nearly every day of his adult life] and see that you do that “stint” each day; you will have more words to your credit at the end of the year. Study the tricks of the writers who have arrived. They have mastered the tools with which you are cutting your fingers. They are doing things, and their work bears the internal evidence of how it is done. Don’t wait for some good Samaritan to tell you, but dig it out for yourself. See that your pores are open and your digestion is good. That is, I am confident, the most important rule of all. Keep a notebook. Travel with it, eat with it, sleep with it. Slap into it every stray thought that flutters up into your brain. Cheap paper is less perishable than gray matter, and lead pencil markings endure longer than memory. And work. Spell it in capital letters. WORK. WORK all the time. Find out about this earth, this universe; this force and matter, and the spirit that glimmers up through force and matter from the maggot to Godhead. And by all this I mean WORK for a philosophy of life. It does not hurt how wrong your philosophy of life may be, so long as you have one and have it well. The three great things are: GOOD HEALTH; WORK; and a PHILOSOPHY OF LIFE. I may add, nay, must add, a fourth—SINCERITY. Without this, the other three are without avail; with it you may cleave to greatness and sit among the giants." [Getting Into Print (The Editor magazine, March 1903)]

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Power does not pardon, power punishes.

Honestly, all crows are not ravens

Love hurts because it holds hearts

Seed becomes tree, son becomes stranger.

Time can play all sorts of tricks on you. In the blink of an eye, babies appear in carriages, coffins disappear into the ground, wars are won and lost, and children transform, like butterflies, into adults. That's what happened to me. Once upon a time, I was a boy named Hugo Cabret, and I desperately believed that a broken automaton would save my life. Now that my cocoon has fallen away and I have emerged as a magician named Professor Alcofrisbas, I can look back and see that I was right. The automaton my father discovered did save me. But now I have built a new automaton. I spent countless hours designing it. I made every gear myself, carefully cut every brass disk, and fashioned every bt of machinery with my own hands. When you wind it up, it can do something I'm sure no other automaton in the world can do. It can tel you the incredible story of Georges Melies, his wife, their goddaughter, and a beloved clock maker whose son grew up to be a magician. The complicated machinery inside my automaton can produce one-hundred and fifty-eight different pictures, and it can wrote, letter, by letter, an entire book, twenty-six thousand one hundred and fifty-nine words. These words. THE END

They had been talking about his friend Z. when she announced, "If I hadn't met you, I'd certainly have fallen in love with him." Even then, her words had left Tomas in a strange state of melancholy, and now he realized it was only a matter of chance that Tereza loved him and not his friend Z. Apart from her consummated love for Tomas, there were, in the realm of pos­sibility, an infinite number of unconsummated loves for other men. We all reject out of hand the idea that the love of our life may be something light or weightless; we presume our love is what must be, that without it our life would no longer be the same; we feel that Beethoven himself, gloomy and awe-inspir­ing, is playing the "Es muss sein!" to our own great love. Tomas often thought of Tereza's remark about his friend Z. and came to the conclusion that the love story of his life exemplified not "Es muss sein!" (It must be so), but rather "Es konnte auch anders sein" (It could just as well be otherwise).

They were waiting for me in the books and in stories, after all, hiding inside the twenty six characters and a handful of punctuation marks. These letters and words, when placed in the right order, would conjure all manner of exotic beasts and people from the shadows, would reveal the motives and minds of insects and of cats. They were spells, spelled with words to make worlds, waiting for me, in the pages of books.

I can write a short story in six words. For sale: baby shoes, never used

Routine ruins the life, variety vitalise the life.

Worry wastes time, envy wastes wealth.

When one gives, two get happy.

My story begins in nineteen-dickety-two. We had to say -dickety- because the Kaiser had stolen our word -twenty-. I chased that rascal to get it back, but gave up after dickety-six miles. What are you cackling at, fatty? Too much pie, that's your problem! Now, I'd like to digress from my prepared remarks to discuss how I invented the terlet...

If you stop to think about it, you’ll have to admit that all the stories in the world consist essentially of twenty-six letters. The letters are always the same, only the arrangement varies. From letters words are formed, from words sentences, from sentences chapters, and from chapters stories.

I tell students, when in doubt, to title their story after the smallest concrete object in their story. I warn them off plays on words, ('The Rent Also Rises'--no; 'Life in My Cat House'--no) and no grand reaches, either. 'Reverence,' 'Respect,' 'Regret,' 'Greed,' 'Adventure,' 'Retribution.' And never use the worst title of all time, 'The Gift,' a story I read six times a year.

He had a book to finish. Ten-thousand words. The other ninety thousand had been difficult. This last tenth seemed impossible. His plot had become derailed. He was unable to see his way through the smoke and coke dust of a mythical railway track that should stretch ahead. Yes, the characters were there, good and solid. Indeed, the story's engine was strong and had shunted yet forward and forward, with only one or two sharp halts. But six weeks ago he met the bumpers. R. was now stuck in a deserted station, his progress blocked. ("Out Back")

In another dimension, we just met.

Not every wall needs a ceiling

Each tear longs to kiss sorrow

Imprisoned peace sets the war free

Doubt destroys more dreams than defeats.

Why, once Jakes went out to cover a revolution in one of the Balkan capitals. He overslept in his carriage, woke up at the wrong station, didn't know any different, got out, went straight to a hotel, and cabled off a thousand-word story about barricades in the streets, flaming churches, machine guns answering the rattle of his typewriter as he wrote. Well they were pretty surprised at his office, getting a story like that from the wrong country, but they trusted Jakes and splashed it in six national newspapers. That day every special in Europe got orders to rush to the new revolution. Everything seemed quiet enough, but it was as much their jobs were worth to say so, with Jakes filing a thousand words of blood and thunder a day. So they chimed in too. Government stocks dropped, financial panic, state of emergency declared, army mobilized, famine, mutiny — and in less than a week there was an honest to god revolution under way, just as jakes had said. There's the power of the press for you.

The Human Words of God speak of the Creation in terms that could be understood by the men of old. There is no talk of galaxies or genes, for such terms would have confused them greatly! But must we therefore take as scientific fact the story that the world was created in six days, thus making a nonsense of observable data?

Vân Uoc decided that she too would get to know the book inside out. And something miraculous happened when they were about a quarter of the way through reading it. After weeks of ploughing and hesitating, something clicked; she stopped stumbling over the unknown words and long sentences. Words magically started to reveal meaning, most of the time anyway, through context. And the sentences themselves stopped being obstacles and started telling a story. Her eyes were racing ahead; she was comprehending the shape and rhythm of the language.

And the true story that we told about ourselves six months ago may no longer be true today. We need one another to help us reexamine the words coming out of our mouth, to reflect on what is happening with our bodies and spirits

Around about now, young John Owen comes out of the shack lugging my old musket from the War. At six years of age, our youngest boy already knew his business. Not a word, just brings the shooting iron somewhat closer so's he don't waste powder, then hoists her up, set to haul back on the trigger. I believe his plan was to shoot this feller, get the story later.

Don’t wait. Writers are the only artists I know of who expect to get somewhere by waiting. Everyone knows you have to dance to be a dancer, you have to sing to be a singer, you have to act to be an actor, but far too many people seem to believe that you. don’t have to write to be a writer. So, instead of writing, they wait. Isaac Asimov said it beautifully in just six words: “It’s the writing that teaches you.” Writing is what teaches you. Writing is what leads to “inspiration.” Writing is what generates ideas. Nothing else-and nothing less. Don’t meditate, don’t do yoga, don’t do drugs. Just write.

At some time all cities have this feel: in London it's at five or six on a winer evening. Paris has it too, late, when the cafes are closing up. In New York it can happen anytime: early in the morning as the light climbs over the canyon streets and the avenues stretch so far into the distance that it seems the whole world is city; or now, as the chimes of midnight hang in the rain and all the city's longings acquire the clarity and certainty of sudden understanding. The day coming to an end and people unable to evade any longer the nagging sense of futility that has been growing stronger through the day, knowing that they will feel better when they wake up and it is daylight again but knowing also that each day leads to this sense of quiet isolation. Whether the plates have been stacked neatly away or the sink is cluttered with unwashed dishes makes no difference because all these details--the clothes hanging in the closet, the sheets on the bed--tell the same story--a story in which they walk to the window and look out at the rain-lit streets, wondering how many other people are looking out like this, people who look forward to Monday because the weekdays have a purpose which vanishes at the weekend when there is only the laundry and the papers. And knowing also that these thoughts do not represent any kind of revelation because by now they have themselves become part of the same routine of bearable despair, a summing up that is all the time dissolving into everyday. A time in the day when it is possible to regret everything and nothing in the same breath, when the only wish of all bachelors is that there was someone who loved them, who was thinking of them even if she was on the other side of the world. When a woman, feeling the city falling damp around her, hearing music from a radio somewhere, looks up and imagines the lives being led behind the yellow-lighted windows: a man at his sink, a family crowded together around a television, lovers drawing curtains, someone at his desk, hearing the same tune on the radio, writing these words.

That’s right,” he said. “Every time I closed my eyes.” “What happened in the dreams?” she asked, eager for an answer, but fearing it, too. “Horrible things. The worst kinds of torture. You drowned me slowly. You burned my heart from my chest. You blinded me.” “I was a monster.” “A monster, a maiden, a sylph of the ice. You kissed me, whispered stories in my ear. You sang to me and held me as I slept. Your laugh chased me into waking.” “You always hated my laugh.” “I loved your laugh, Nina. And your fierce warrior’s heart. I might have loved you, too.” Might have. Once. Before she had betrayed him. Those words carved an ache into her chest. She

Oh, I was lucky, you know, to get anyone. I was what they called an old bride of twenty-six. Of course I married him. Everyone needs to keep something private from their family. Like a shutter in a rainstorm, banging against the window, I venture forth, retreat back, try afresh, retreat again. Nothing changes in my life and yet nothing is the same. That did not help, Ed knew as the words hung between them and he had that all-too-familiar sensation of wanting to claw them from the air and stuff them back in his mouth. We were all in small pieces that didn't fit together, too many countries, too many scars, too many secrets inside us. How do you make a stranger so intimate when they could easily destroy you?

We have so many rehearsed stories about who we are,” says Lennon. “And the true story that we told about ourselves six months ago may no longer be true today. We need one another to help us reexamine the words coming out of our mouth, to reflect on what is happening with our bodies and spirits.

State first, subject second, statesman last.

That’s not me.That’s my duality!

To Ruth, at first, the Japanese words were unintelligible, like one of the sinister magic spells, spoken in Hawaiian, in the ghost stories Maile used to tell. But over the next four months, Ruth's six-year-old brain soaked up both the English alphabet and the Chinese kanji characters as a sea sponge absorbs water, and within four months she was able to join in reciting the kokun and understood it to mean: Let us become worthy individuals. Let us study together in a friendly atmosphere. Let us take care of our health by eating properly. Let us be good to our parents.

I believe in brevity. I believe that you, the reader, entrust me, the writer, with your most valued commodity—your time. I shouldn’t take more than my share. For that reason, I love the short sentence. Big-time game it is. Hiding in the jungle of circular construction and six-syllable canyons. As I write, I hunt. And when I find, I shoot. Then I drag the treasure out of the trees and marvel. Not all of my prey make their way into chapters. So what becomes of them? I save them. But I can’t keep them to myself. So, may I invite you to see my trophy case? What follows are cuts from this book and a couple of others. Keep the ones you like. Forgive the ones you don’t. Share them when you can. But if you do, keep it brief. Pray all the time. If necessary, use words. Sacrilege is to feel guilt for sins forgiven. God forgets the past. Imitate him. Greed I’ve often regretted. Generosity—never. Never miss a chance to read a child a story. Pursue forgiveness, not innocence. Be doubly kind to the people who bring your food or park your car. In buying a gift for your wife, practicality can be more expensive than extravagance. Don’t ask God to do what you want. Ask God to do what is right. Nails didn’t hold God to a cross. Love did.

I have something for you,” she said as she pulled his leather gloves from the sleeve of her prison tunic. He stared at them. “How—” “I got them from the discarded clothes. Before I made the climb.” “Six stories in the dark.” She nodded. She wasn’t going to wait for thanks. Not for the climb, or the gloves, or for anything ever again. He pulled the gloves on slowly, and she watched his pale, vulnerable hands disappear beneath the leather. They were trickster hands—long, graceful fingers made for prying open locks, hiding coins, making things vanish. “When we get back to Ketterdam, I’m taking my share, and I’m leaving the Dregs.” He looked away. “You should. You were always too good for the Barrel.” It was time to go. “Saints’ speed, Kaz.” Kaz snagged her wrist. “Inej.” His gloved thumb moved over her pulse, traced the top of the feather tattoo. “If we don’t make it out, I want you to know…” She waited. She felt hope rustling its wings inside her, ready to take flight at the right words from Kaz. She willed that hope into stillness. Those words would never come. The heart is an arrow. She reached up and touched his cheek. She thought he might flinch again, even knock her hand away. In nearly two years of battling side by side with Kaz, of late-night scheming, impossible heists, clandestine errands, and harried meals of fried potatoes and hutspot gobbled down as they rushed from one place to another, this was the first time she had touched him skin to skin, without the barrier of gloves or coat or shirtsleeve. She let her hand cup his cheek. His skin was cool and damp from the rain. He stayed still, but she saw a tremor pass through him, as if he were waging a war with himself. “If we don’t survive this night, I will die unafraid, Kaz. Can you say the same?” His eyes were nearly black, the pupils dilated. She could see it took every last bit of his terrible will for him to remain still beneath her touch. And yet, he did not pull away. She knew it was the best he could offer. It was not enough. She dropped her hand. He took a deep breath. Kaz had said he didn’t want her prayers and she wouldn’t speak them, but she wished him safe nonetheless. She had her aim now, her heart had direction, and though it hurt to know that path led away from him, she could endure it.

S., a clever and truthful man, once told me the story of how he ceased to believe. On a hunting expedition, when he was already twenty-six, he once, at the place where they put up for the night, knelt down in the evening to pray -- a habit retained from childhood. His elder brother, who was at the hunt with him, was lying on some hay and watching him. When S. had finished and was settling down for the night, his brother said to him: 'So you still do that?' They said nothing more to one another. But from that day S. ceased to say his prayers or go to church. And now he has not prayed, received communion, or gone to church, for thirty years. And this not because he knows his brother's convictions and has joined him in them, nor because he has decided anything in his own soul, but simply because the word spoken by his brother was like the push of a finger on a wall that was ready to fall by its own weight. The word only showed that where he thought there was faith, in reality there had long been an empty space, and that therefore the utterance of words and the making of signs of the cross and genuflections while praying were quite senseless actions. Becoming conscious of their senselessness he could not continue them.

Advice? Fail constantly. Because the word doesn't mean what you think it means, especially when you're an artist. I use the word artist to mean everything from songwriting to writing a novel to even writing video games. Anything that tells a story, which is almost any medium. Gotta take risks, you gotta go through multiple drafts which means you have to FAIL, a lot. So you won't always get the reaction you always want from every single person, so when you lose that fear of failure, when you stop even thinking of it as failure, and you push yourself farther, you'll take bigger risks, and eventually, after about six or seven hundred rejections, you'll find success. And you'll find a way of conveying what you really want to say, in the best manner.

She bought me betta fish when I was six, after I kept telling her the same story, every day, about the tanks we had in my class at school, the betta fish, red and purple and blue and green, swimming lazily in the tanks, flashing brilliant and then dull. She came home with one on a Sunday, after she'd been out all weekend. I hadn't seen her since Friday, since she told Mam she was going to the store to buy some milk and some sugar and didn't come back. When she came back, her skin was dry and flaking at the corners of her mouth, her hair stuck out in a bushy halo, and she smelled like wet hay. The fish was green, the color of pine needles, and he had stripes down his tail the color of red mud. I called him Bubby Bubbles, since he blew bubbles all day, and when I leaned over his tank, I could hear him crunching on the fish food Leonie had brought home in a sample-size bag. I imagined even then that one day I could lean over his bowl, and instead of crunching, little words would pop out the bubbles that fizzed up to the surface. Big face. Light. And love. But when the sample size of fish food ran out, and I asked Leonie to buy me more, she said she would, and then forgot, again and again, until old day she said: Give him sold old bread. I figured he couldn't crunch like needed on some old bread, so I kept bugging her about it, and Bubby got skinnier and skinnier, his bubbles smaller and smaller, until I walked into the kitchen one day and he was floating on top of the water, his eyes white, a slimy scrim like fat, no voice in his bubbles. Leonie kill things.

I compared what was really known about the stars with the account of creation as told in Genesis. I found that the writer of the inspired book had no knowledge of astronomy -- that he was as ignorant as a Choctaw chief -- as an Eskimo driver of dogs. Does any one imagine that the author of Genesis knew anything about the sun -- its size? that he was acquainted with Sirius, the North Star, with Capella, or that he knew anything of the clusters of stars so far away that their light, now visiting our eyes, has been traveling for two million years? If he had known these facts would he have said that Jehovah worked nearly six days to make this world, and only a part of the afternoon of the fourth day to make the sun and moon and all the stars? Yet millions of people insist that the writer of Genesis was inspired by the Creator of all worlds. Now, intelligent men, who are not frightened, whose brains have not been paralyzed by fear, know that the sacred story of creation was written by an ignorant savage. The story is inconsistent with all known facts, and every star shining in the heavens testifies that its author was an uninspired barbarian. I admit that this unknown writer was sincere, that he wrote what he believed to be true -- that he did the best he could. He did not claim to be inspired -- did not pretend that the story had been told to him by Jehovah. He simply stated the "facts" as he understood them. After I had learned a little about the stars I concluded that this writer, this "inspired" scribe, had been misled by myth and legend, and that he knew no more about creation than the average theologian of my day. In other words, that he knew absolutely nothing. And here, allow me to say that the ministers who are answering me are turning their guns in the wrong direction. These reverend gentlemen should attack the astronomers. They should malign and vilify Kepler, Copernicus, Newton, Herschel and Laplace. These men were the real destroyers of the sacred story. Then, after having disposed of them, they can wage a war against the stars, and against Jehovah himself for having furnished evidence against the truthfulness of his book.

Of the six million species on the planet, only man makes language. Words. What's more--in evidence of the Divine--we string those symbols together and then write them down, where they take on a life of their own and breathe outside of us. Story is the bandage of the broken. Sutures of the shattered. The tappestry upon which we write our lives. Upon which we lay the bodies of our dying and the about-to-come-to-life. And if it's honest, true, hind nothing, revealing all, then it is a raging river and those who ride it find they have something to give--that they are not yet empty.

In the seven years I worked at the Tate Gallery in London about six and a half were spent discussing possible exhibition titles. “I Kid You Not,” “No Word of a Lie,” “It’s a Material World,” were all discussed at some time or another as potential names for a show. A typical “titles meeting” would involve about fifteen people, thirteen of whom remained mute, other than to say “no” or “absolutely not,” while a couple of optimistic individuals made suggestions. It was ridiculous, of course, but it does highlight a central tension in the art world: public engagement versus scholarship.

There’s twenty-six letters in the alphabet that can be arranged to express an infinity of emotions.” I shake my head. “But not mine, not for you. There are no words to express the way my whole world falls at your feet, staring up in awe at my best friend, my lover … my forever. The river of love for you that runs through me is deep and all consuming. I came alive for you. With the soft stroke of your brush, you painted my life a million shades of amazing and now my heart finds its rhythm from your love … our love … forever. So be my husband, Trick. Let our story be the only one that matters.

What's defined my game more than anything? Determination, tenacity. I do not quit. Knock me down ten times, I get up the eleventh and shove that yellow ball right back at you. “This will not beat me,” I said. “This will not be the last word.” To understand my determination, you need to know who I am, where I come from, what happened. You need to know about me and my father and the flight from Russia in the dead of night when I was six. You need to know about Nick B. and Sekou and Serena and a nice old couple from Poland. You need to know the crazy story. In other words, you need to know everything.

I light another cigarette. I'm starting to get nervous as fuck. I normally don't do pillow talk with girls I make love to. God, but I need this. Nobody really knows my story. They all think they do. I've buried the truth in a hurricane of words. That's really what I did. A novel every six months or so. Damn, I hide a lot. "I don't know. I've tried replacing her with somebody else. Believe me, I tried. But I can't. I spent ten years of my life chasing her ghost. I try to find her in other women. It's unfair to them. That's why I just them home. I fuck them, love them, then I kick them out. I don't want them knowing.

of the problem was that Chaos got a little creation-happy. It thought to its misty, gloomy self: Hey, Earth and Sky. That was fun! I wonder what else I can make. Soon it created all sorts of other problems—and by that I mean gods. Water collected out of the mist of Chaos, pooled in the deepest parts of the earth, and formed the first seas, which naturally developed a consciousness—the god Pontus. Then Chaos really went nuts and thought: I know! How about a dome like the sky, but at the bottom of the earth! That would be awesome! So another dome came into being beneath the earth, but it was dark and murky and generally not very nice, since it was always hidden from the light of the sky. This was Tartarus, the Pit of Evil; and as you can guess from the name, when he developed a godly personality, he didn't win any popularity contests. The problem was, both Pontus and Tartarus liked Gaea, which put some pressure on her relationship with Ouranos. A bunch of other primordial gods popped up, but if I tried to name them all we’d be here for weeks. Chaos and Tartarus had a kid together (don’t ask how; I don’t know) called Nyx, who was the embodiment of night. Then Nyx, somehow all by herself, had a daughter named Hemera, who was Day. Those two never got along because they were as different as…well, you know. According to some stories, Chaos also created Eros, the god of procreation... in other words, mommy gods and daddy gods having lots of little baby gods. Other stories claim Eros was the son of Aphrodite. We’ll get to her later. I don’t know which version is true, but I do know Gaea and Ouranos started having kids—with very mixed results. First, they had a batch of twelve—six girls and six boys called the Titans. These kids looked human, but they were much taller and more powerful. You’d figure twelve kids would be enough for anybody, right? I mean, with a family that big, you’ve basically got your own reality TV show. Plus, once the Titans were born, things started to go sour with Ouranos and Gaea’s marriage. Ouranos spent a lot more time hanging out in the sky. He didn't visit. He didn't help with the kids. Gaea got resentful. The two of them started fighting. As the kids grew older, Ouranos would yell at them and basically act like a horrible dad. A few times, Gaea and Ouranos tried to patch things up. Gaea decided maybe if they had another set of kids, it would bring them closer…. I know, right? Bad idea. She gave birth to triplets. The problem: these new kids defined the word UGLY. They were as big and strong as Titans, except hulking and brutish and in desperate need of a body wax. Worst of all, each kid had a single eye in the middle of his forehead. Talk about a face only a mother could love. Well, Gaea loved these guys. She named them the Elder Cyclopes, and eventually they would spawn a whole race of other, lesser Cyclopes. But that was much later. When Ouranos saw the Cyclops triplets, he freaked. “These cannot be my kids! They don’t even look like me!” “They are your children, you deadbeat!” Gaea screamed back. “Don’t you dare leave me to raise them on my own!

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

Steve had cut a deal on the other charges pending against him at the time—the charges associated with his forcing a deputy sheriff’s wife off the road—and he received a six-year sentence for that crime. In other words, he would have spent six of those eighteen years in prison even if he had not been wrongly convicted of the other crime.

Do you want to know what finally changed things for me?” “What?” My voice is barely above a whisper. Dappled sunlight falls across his face, highlighting his flushed cheeks. “I met someone. She’s about five-six, golden brown hair, devastating smile. The kind that warms you from the inside out. And she made me so mad. Not two weeks after I started the job, she called to grill me about a story I posted on Facebook. She insisted I edit it because I didn’t get the wording right.” He adopts a mock falsetto voice. “ ‘It isn’t the “Panama Canal” cruise. It’s “Panama Canal and the Wonders of Azuero.” Fix it, please.’ ” My muscles go limp and my knees nearly buckle. Because he’s talking about me. “Finally, someone who wasn’t walking on eggshells. She actually snapped at me, and it was like she snapped me out of my fog. I may have been unnecessarily combative after that, just to get a rise out of her, but I started to feel again. Irritation, at first, but then more. After a while, I began getting out of the house. Seeing a therapist. Playing hockey. I adopted Winnie—best decision ever. I actually started looking forward to waking up in the morning.” Graeme steps closer, but I’m glued to the spot. Heat sizzles through my veins when he reaches up to run his knuckles along my cheek. “And staff meeting Thursdays? They became my favorite day of the week. Because I got to see her face.” My heart is hammering and my lungs seize. The sound of guests approaching rumbles closer, but I don’t look away. I swallow past the lump that’s lodged in my throat. “After this cruise, they’re my favorite day of the week too.” Reaching up, I run my fingers lightly along the hand that’s cupping my cheek. Graeme’s eyes widen and his lips part. Gathering every ounce of resolve I can muster, I step away just as Nikolai and Dwight crest a nearby hill. We continue through the highlands, fastening our platonic coworker facades into place. But an unspoken understanding hangs in the space between us, heavy and undeniable… This just went way past any bet.

One," said the recording secretary. "Jesus wept," answered Leon promptly. There was not a sound in the church. You could almost hear the butterflies pass. Father looked down and laid his lower lip in folds with his fingers, like he did sometimes when it wouldn't behave to suit him. "Two," said the secretary after just a breath of pause. Leon looked over the congregation easily and then fastened his eyes on Abram Saunders, the father of Absalom, and said reprovingly: "Give not sleep to thine eyes nor slumber to thine eyelids." Abram straightened up suddenly and blinked in astonishment, while father held fast to his lip. "Three," called the secretary hurriedly. Leon shifted his gaze to Betsy Alton, who hadn't spoken to her next door neighbour in five years. "Hatred stirreth up strife," he told her softly, "but love covereth all sins." Things were so quiet it seemed as if the air would snap. "Four." The mild blue eyes travelled back to the men's side and settled on Isaac Thomas, a man too lazy to plow and sow land his father had left him. They were not so mild, and the voice was touched with command: "Go to the ant, thou sluggard, consider her ways and be wise." Still that silence. "Five," said the secretary hurriedly, as if he wished it were over. Back came the eyes to the women's side and past all question looked straight at Hannah Dover. "As a jewel of gold in a swine's snout, so is a fair woman without discretion." "Six," said the secretary and looked appealingly at father, whose face was filled with dismay. Again Leon's eyes crossed the aisle and he looked directly at the man whom everybody in the community called "Stiff-necked Johnny." I think he was rather proud of it, he worked so hard to keep them doing it. "Lift not up your horn on high: speak not with a stiff neck," Leon commanded him. Toward the door some one tittered. "Seven," called the secretary hastily. Leon glanced around the room. "But how good and how pleasant it is for brethren to dwell together in unity," he announced in delighted tones as if he had found it out by himself. "Eight," called the secretary with something like a breath of relief. Our angel boy never had looked so angelic, and he was beaming on the Princess. "Thou art all fair, my love; there is no spot in thee," he told her. Laddie would thrash him for that. Instantly after, "Nine," he recited straight at Laddie: "I made a covenant with mine eyes; why then should I think upon a maid?" More than one giggled that time. "Ten!" came almost sharply. Leon looked scared for the first time. He actually seemed to shiver. Maybe he realized at last that it was a pretty serious thing he was doing. When he spoke he said these words in the most surprised voice you ever heard: "I was almost in all evil in the midst of the congregation and assembly." "Eleven." Perhaps these words are in the Bible. They are not there to read the way Leon repeated them, for he put a short pause after the first name, and he glanced toward our father: "Jesus Christ, the SAME, yesterday, and to-day, and forever!" Sure as you live my mother's shoulders shook. "Twelve." Suddenly Leon seemed to be forsaken. He surely shrank in size and appeared abused. "When my father and my mother forsake me, then the Lord will take me up," he announced, and looked as happy over the ending as he had seemed forlorn at the beginning. "Thirteen." "The Lord is on my side; I will not fear; what can man do unto me?" inquired Leon of every one in the church. Then he soberly made a bow and walked to his seat.

She'd always been comforted by how many words there were in the English language -- more than a million. With so many words surely anything could be said, everything could be understood. But what did the volume of words matter in any language when she couldn't even manage to ask the simplest questions? Will you tell me your story? Will you let me in to my own family? Isn't it my story, too?

But, as I delved into Chinese for Dummies, I couldn’t help but conclude that the Chinese language is the Great Wall of languages, a clever linguistic barrier erected to keep outsiders out. What, frankly, is wrong with Esperanto? Or alphabets? What is so deficient about an alphabet that uses a judicious twenty-six letters? We can make lots of words with those twenty-six letters, big words even.

For years, the people of Congo spoke of giant chimpanzees that ate lions, fished, and howled at the moon. In fact, the animal was called “lion killer” by the native people. Of course, traditional scientists attributed the rumors to a highly imaginative indigenous group whose bedtime stories had gotten a little out of hand. Besides, the descriptions seemed to more closely match a gorilla than a chimp. It was said that it lived in nests on the ground, rather than in the trees; that it was not aggressive toward humans; that it walked on two feet for longer distances than is typical for a chimp; and that it grew to as large as six and half feet tall. All in all, it was too incredible to be real, at least for the Western world. Still, in 1996, when word of the giant chimps got out, researchers descended on Congo. Although scat, hair, and other evidence was found, it wasn’t until 2005 that the chimps were actually seen by a Westerner. Primatologist Shelly Williams was in the Congo, searching for the creatures, when a group of four of them emerged from the trees, charging at her. They were at least five feet tall, with wide flat faces, a pronounced brow, and gray fur. Yet when they noticed Williams’s face, they stopped their charge and walked away. This lack of aggression toward humans was repeated in other encounters, including those of Cleve Hicks of the University of Amsterdam, who spent eighteen months observing the creatures following the Williamses’ encounter. He, too, found that they had no fear of humans, but rather seemed to recognize humans as a cousin of sorts.

In Cold Blood is the story of these six people—the [four] Clutters, who died together November 15, 1959, and Perry Smith and Richard Hickock, who were hanged April 14, 1965. And my book is the story of their lives and their deaths. It’s a completely factual account and every word is true. — Truman Capote, interviewed in A Visit with Truman Capote, Maysles Films, 1966 (alternate title: With Love From Truman).

Every newspaper report of Virginia’s action made events in Virginia sound more extravagant than they were. The Burgesses had passed four resolves; Maryland printed six and Rhode Island seven; undoubtedly stories relayed in private letters, by word of mouth, the gossip of taverns, parishes, towns, and court meetings introduced further distortions. Henry’s bravado was reported in these stories; his backing down was not.

Horrible things. The worst kinds of torture. You drowned me slowly. You burned my heart from my chest. You blinded me.” “I was a monster.” “A monster, a maiden, a sylph of the ice. You kissed me, whispered stories in my ear. You sang to me and held me as I slept. Your laugh chased me into waking.” “You always hated my laugh.” “I loved your laugh, Nina. And your fierce warrior’s heart. I might have loved you, too.” Might have. Once. Before she had betrayed him. Those words carved an ache into her chest.

The soldiers were already laying pikes along the wall by torch-light, with the points bristling upwards; they had draped cloaks over the poles to make small tents to sleep under. A few of them were sitting around small campfires, soaking dried meat in boiling water, stirring kasha into the broth to cook up. They cleared hastily out of our way without our even having to say a word, afraid. Sarkan seemed not to notice, but I couldn’t help feeling sorry and strange and wrong. One of the soldiers was a boy my own age, industriously sharpening pike-heads one by one with a stone, skillfully: six strokes for each one and done as quick as the two men putting them along the wall could come back for them. He must have put himself to it, to learn how to do it so well. He didn’t look sullen or unhappy. He’d chosen to go for a soldier. Maybe he had a story that began that way: a poor widowed mother at home and three young sisters to feed, and a girl from down the lane who smiled at him over the fence as she drove her father’s herd out into the meadows every morning. So he’d given his mother his signing-money and gone to make his fortune. He worked hard; he meant to be a corporal soon, and after that a sergeant: he’d go home then in his fine uniform, and put silver in his mother’s hands, and ask the smiling girl to marry him. Or maybe he’d lose a leg, and go home sorrowful and bitter to find her married to a man who could farm; or maybe he’d take to drink to forget that he’d killed men in trying to make himself rich. That was a story, too; they all had stories. They had mothers or fathers, sisters or lovers. They weren’t alone in the world, mattering to no one but themselves.

I glare at him and sigh. “Don't you understand what a book is?” “Obviously.” “Then how can it be boring? It's not just twenty-six little letters all mushed together to make words that link together to tell a story. It's the creation of another world where anything can happen and anyone can be whoever they want to be. It's a crazy, special kind of magic that can transport you out of the real world, to anywhere you want to go. It doesn't matter if it's a made-up universe or it's written in a city you can drive to within an hour. It's what happens within the pages that makes reading so...not boring.

So, once more, the question is: Does the Bible forbid homosexual behavior? Well, I’ve already said that it does. The Bible is so realistic! You might not expect it to mention a topic like homosexual behavior, but in fact there are six places in the Bible—three in the Old Testament and three in the New Testament—where this issue is directly addressed—not to mention all the passages dealing with marriage and sexuality which have implications for this issue. In all six of these passages homosexual acts are unequivocally condemned. In Leviticus 18.22 it says that it is an abomination for a man to lie with another man as with a woman. In Lev. 20.13 the death penalty is prescribed in Israel for such an act, along with adultery, incest, and bestiality. Now sometimes homosexual advocates make light of these prohibitions by comparing them to prohibitions in the Old Testament against having contact with unclean animals like pigs. Just as Christians today don’t obey all of the Old Testament ceremonial laws, so, they say, we don’t have to obey the prohibitions of homosexual actions. But the problem with this argument is that the New Testament reaffirms the validity of the Old Testament prohibitions of homosexual behavior, as we’ll see below. This shows they were not just part of the ceremonial laws of the Old Testament, which were done away with, but were part of God’s everlasting moral law. Homosexual behavior is in God’s sight a serious sin. The third place where homosexual acts are mentioned in the Old Testament is the horrifying story in Genesis 19 of the attempted gang rape of Lot’s visitors by the men of Sodom, from which our word sodomy derives. God destroyed the city of Sodom because of their wickedness. Now if this weren’t enough, the New Testament also forbids homosexual behavior.

I need to see Inej," she said, eager to have him gone. He didn't leave. Instead he said, "Did you think of me at all, Nina? Did I trouble your sleep?" She shrugged. "A Corporalnik can sleep whenever she likes." Though she couldn't control her dreams. "Sleep is a luxury at Hellgate. It's a danger. But when I slept, I dreamed of you." Her head snapped up. "That's right," he said. "Every time I closed my eyes." "What happened in the dreams?" she asked, eager for an answer, but fearing it, too. "Horrible things. The worst kinds of torture. You drowned me slowly. You burned my heart from my chest. You blinded me." "I was a monster." "A monster, a maiden, a sylph of the ice. You kissed me, whispered stories in my ear. You sang to me and held me as I slept. Your laugh chased me into waking." "You always hated my laugh." "I loved your laugh, Nina. And your fierce warrior's heart. I might have loved you, too." Might have. Once. Before she had betrayed him. Those words carved an ache into her chest. She knew she shouldn't speak, but she couldn't help herself. "And what did you do, Matthias? What did you do to me in your dreams?" The ship listed gently. The lanterns swayed. His eyes were fire blue. "Everything," he said, as he turned to go. "Everything.

As Americans embraced Wild West mythology by ignoring inconvenient facts and exaggerating or inventing more palatable ones, they also altered the meaning of a traditionally negative term. In Wyatt’s real West, anyone referred to as a cowboy was most likely a criminal. But in movies the word was used first to describe hardworking ranch hands and then, generically, those who rode horses, toted six-guns, and, when necessary (and it always became necessary) fought to uphold justice at the risk of their own lives. Cowboys were heroes, and their enemies were outlaws. So far as his growing legion of fans was concerned, Wyatt Earp was a cowboy in the new, best sense of the word. B

screeched. “Dirty, rotten pigs!” The smell was overpowering. Sammy just stood there, hidden under his raincoats. Mrs. Jewls wrote Sammy’s name under the word DISCIPLINE. “Send him home on the kindergarten bus,” said Joy. “Not with me,” said Todd. Mrs. Jewls held her nose, walked up to Sammy, and removed his raincoat. She threw it out the window. But he had on still another one. Sammy hissed. “Hey, old windbag, watch where you throw my good clothes!” Mrs. Jewls put a check next to Sammy’s name on the blackboard. Then she took off another raincoat and threw it out the window. The smell got worse, for he had on still another one. Sammy began to laugh. His horrible laugh was even worse than his horrible voice. When Sammy first came into the room, he was four feet tall. But after Mrs. Jewls removed six of his raincoats, he was only three feet tall. And there were still more raincoats to go. Mrs. Jewls circled his name and removed another coat. She threw it out the window. Then she put a triangle around the circle and threw another one of his coats outside. She kept doing this until Sammy was only one-and-a-half feet high. With every coat she took off, Sammy’s laugh got louder and the smell got worse. Some of the children held their ears. Others could hold only one ear because they were holding their nose with the other hand. It was hard to say which was worse, the laugh or the smell.

My name is Nathan, just twenty-three and given to the curation of stories. I listen, retain, then polish and release them over the fire at night, when the others hush and lean forward in their desire to hear of the past. They crave romance, particularly when autumn sets in and cold nights await them, and so I speak of Alice, and Bethany, and Sarah, and Val, and other dead women who all once had lustrous hair and never a bad word on their plump lips. I can remember this is not how they were; I knew them, I knew them! Only six years have passed and yet I mythologize them as if it is six thousand. I am not culpable. Language is changing, like the earth, like the sea. We live in lonely, fateful flux, outnumbered and outgrown.

A more accessible explanation comes from the spiritual teacher Ram Dass, in the form of a story about two ocean waves—a tall one and a short one—heading toward the shore. The tall wave sees what’s up ahead—waves crashing and dissolving back into the ocean—and starts panicking. “We’re going to die!” it cries. The short wave is untroubled. The tall wave repeatedly tries to convey the gravity of the situation. “Seriously! This is the end!” But the short wave remains unconcerned, responding: “What would you say if I told you that there are six words, that if you really understood and believed them, you would see that there’s no reason to fear?” “Fine, fine, tell me the six words!” pleads the tall wave. The short wave replies: “You’re not a wave, you’re water.

Mark Vink is a physician in the Netherlands who suddenly fell ill with chronic fatigue syndrome (ME/CFS). He wasn’t just your typical physician; he also happened to have a brown belt in judo, was the former captain of a Dutch national field hockey championship team and was a marathoner and triathlete. In other words, the guy was a stud who loved to test himself physically – the last person anyone would ever expect to get ME/CFS. Or end up bed bound. Or end up using a six yard tramp from his bed to the bathroom to test his exercise capacity. But that’s what happened. Mark Vink’s ME/CFS story – like many stories – is so striking in its suddenness and so devastating in its comprehensive that it beggars the mind to think that anyone could believe his downfall could have other than a physiological cause.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

One way to track the pulse of a society is to measure its words. Their meanings and values change with the times and movements of history. Take the word “servant.” Before complaint became a national way of life, it was considered an honor to serve someone. There was no higher cause than to provide for the needs of others out of love. Yet in a culture that panders to self-expression and individualism, “servant” has virtually disappeared from our vocabularies. The six o’clock news features one self-absorbed person after another assertively demanding his or her individual rights. Occasionally a newscast ends with a “human interest” story on someone who serves others. What surprises us is not that this person is featured, but the obvious fact that the servant—one who looks after more than his own self-interest—is now considered a novelty, the odd man out.

the biggest workload difference between these economic systems is not in terms of adult labor, but child labor. According to the anthropologist Karen Kramer, children in most hunter-gatherer societies work just an hour or two per day, mostly foraging, hunting, fishing, collecting firewood, and helping with domestic tasks such as food processing.39 In contrast, a subsistence farmer’s children work on average between four to six hours a day (the range is from two to nine hours) doing gardening, tending animals, hauling water, collecting firewood, processing food, and doing other domestic tasks. In other words, child labor has an ancient agricultural history because children are needed for their substantial contributions to a family’s economic success, especially on a farm. Child labor also helps teach youngsters the skills they will need as adults. Today

On December 1, 2006, federal deputies were brawling in Mexico’s Congress hours before Felipe Calderón was due to enter the chamber to be sworn in as president. It was a fight for space. The leftist deputies claimed their candidate, Andrés Manuel López Obrador, had really won the election but been robbed of his rightful victory. They were trying to gain control of the podium to stop Calderón from taking the oath and assuming office. The conservative deputies were defending the podium to allow the presidential accession. The conservatives won the scrap. There were more of them, and they seemed to be better fed. Among those attending the ceremony were former U.S. president George Bush (Bush the First) and California governor Arnold Schwarzenegger. I was covering the Congress door, snatching interviews as guests went in. The elderly Bush hobbled past with six bodyguards with bald heads and microphones at their mouths. I asked him what he thought about the ruckus in the chamber. “Well, I hope that Mexicans can resolve their differences,” he replied diplomatically. Schwarzenegger strolled past with no bodyguards at all. I asked what he thought about the fisticuffs. The Terminator turned round, stared intensely, and uttered three words: “It’s good action!” I phoned the quote back to headquarters and it went out on a wire story. Suddenly, Schwarznegger’s statement was being bounced around California TV stations. Then the BBC led their newscast with it: “It takes a lot to impress Arnold Schwarznegger but today when he was in Mexico …” I got frantic phone calls from the governor’s office in Los Angeles. Was his quote perhaps being used out of context? Well, I replied, I asked him straight and he told me straight.

When Camilla and her husband joined Prince Charles on a holiday in Turkey shortly before his polo accident, she didn’t complain just as she bore, through gritted teeth, Camilla’s regular invitations to Balmoral and Sandringham. When Charles flew to Italy last year on a sketching holiday, Diana’s friends noted that Camilla was staying at another villa a short drive away. On her return Mrs Parker-Bowles made it quite clear that any suggestion of impropriety was absurd. Her protestations of innocence brought a tight smile from the Princess. That changed to scarcely controlled anger during their summer holiday on board a Greek tycoon’s yacht. She quietly simmered as she heard her husband holding forth to dinner-party guests about the virtues of mistresses. Her mood was scarcely helped when, later that evening, she heard him chatting on the telephone to Camilla. They meet socially on occasion but, there is no love lost between these two women locked into an eternal triangle of rivalry. Diana calls her rival “the rotweiller” while Camilla refers to the Princess as that “ridiculous creature”. At social engagements they are at pains to avoid each other. Diana has developed a technique in public of locating Camilla as quickly as possible and then, depending on her mood, she watches Charles when he looks in her direction or simply evades her gaze. “It is a morbid game,” says a friend. Days before the Salisbury Cathedral spire appeal concert Diana knew that Camilla was going. She vented her frustration in conversations with friends so that on the day of the event the Princess was able to watch the eye contact between her husband and Camilla with quiet amusement. Last December all those years of pent-up emotion came flooding out at a memorial service for Leonora Knatchbull, the six-year-old daughter of Lord and Lady Romsey, who tragically died of cancer. As Diana left the service, held at St James’s Palace, she was photographed in tears. She was weeping in sorrow but also in anger. Diana was upset that Camilla Parker Bowles who had only known the Romseys for a short time was also present at such an intimate family service. It was a point she made vigorously to her husband as they travelled back to Kensington Palace in their chauffeur-driven limousine. When they arrived at Kensington Palace the Princess felt so distressed that she ignored the staff Christmas party, which was then in full swing, and went to her sitting-room to recover her composure. Diplomatically, Peter Westmacott, the Wales’s deputy private secretary, sent her avuncular detective Ken Wharfe to help calm her.

After all, as Prokhorov said, "Money nowadays comes in two stories." What Westerners could comprehend "two-story money"? A lathe operator during the war received, after deductions, eight hundred rubles a month, and bread cost 140 rubles on the open market. And that meant that in the course of one month he did not earn enough for even six kilos of bread, over and above his ration. In other words, he could not bring home even seven ounces a day for his whole family! But at the same time he did… live. With frank and open impudence they paid the workers an unreal wage, and let them go and seek "the second story." And the person who paid our plasterer [at the Kaluga Gates prison camp] insane money [200 rubles] for his evening's work also got to the "second story" on his own in some particular way. Thus it was that the socialist system triumphed, but only on paper. The old ways—tenacious, flexible—never died out, as a result of either curses or persecution by the prosecutors.

At a crucial point of the Battle of Britain, when German warplanes were bombing London daily, every available British aircraft was in the sky to stop the planes from reaching the city. As Churchill sat in a car with his military secretary he said, “Don’t speak to me. I have never been so moved.” Churchill sat quietly for five minutes. He then turned to his secretary and asked him to write down a thought that would become one of the most famous quotes of World War II: “Never in the field of human conflict has so much been owed by so many to so few.”6 Only four words in that sentence are more than one syllable and, in six words, Churchill told the entire story of British courage and what it meant to the rest of the world: so much, so many, so few. Those six words summarize stories that fill entire books. “So much” stands for freedom, democracy, and liberty—much of which would have been eliminated if Hitler had not been stopped. “So many” represents the entire population of the British empire at the time and those who lived in the countries Hitler invaded. “So few” is a reference to a small number of English pilots, many of whom were killed in the skies as they defended their homeland.

If anything, it was hotter in the house. Crazy July heat. It got in your head. The kitchen was full of dirty dishes. Flies buzzed around a green plastic Hefty bag filled with Beefaroni and tuna-fish cans. The living room was dominated by a big old Zenith black-and-white TV he had rescued from the Naples dump. A big spayed brindle cat, name of Bernie Carbo, slept on top of it like a dead thing. The bedroom was where he worked on his writing. The bed itself was a rollaway, not made, the sheets stiff with come. No matter how much he was getting (and over the last two weeks that had been zero), he masturbated a great deal. Masturbation, he believed, was a sign of creativity. Across from the bed was his desk. A big old-fashioned Underwood sat on top of it. Manuscripts were stacked to both sides. More manuscripts, some in boxes, some secured with rubber bands, were piled up in one corner. He wrote a lot and he moved around a lot and his main luggage was his work--mostly poems, a few stories, a surreal play in which the characters spoke a grand total of nine words, and a novel he had attacked badly from six different angles. It had been five years since he had lived in one place long enough to get completely unpacked.

In one sense we are all unique, absolutely one-of-a-kind individual creations; but in a much more profound way, each of us has come about as the result of a "long choosing." This is a phrase from writer Wendell Berry, whose book Remembering describes the main character, Andy Catlett’s, struggle with a sudden bout of amnesia. To those acquainted with Berry’s stories about Port William, Kentucky, Andy is a familiar figure, having grown up in the town’s rich web of family and neighborhood relationships. His disorientation begins during a cross-country plane trip to a scientific conference, where he is caught up in the security lines and body searches now a familiar part of the post-9/11 reality. In this world every stranger in an airport terminal is a potential enemy, someone to be kept at a safe distance. Somehow Andy makes it back to his home in rural Kentucky, but he is rough shape. He has literally forgotten who he is, and wanders about town looking for clues. His memories—and his sense of self—return only when in a confused dream state he sees his ancestors, walking together in an endless line. To Andy they are a "long dance of men and women behind, most of whom he never knew, . . . who, choosing one another, chose him.” In other words Andy Catlett is not a self-made man living in an isolated blip of a town, but he and his home are the sum of hundreds of courtships and conceptions, choices and chances, errors and hopes. We like to imagine that we are unique, absolutely unprecedented. But here is the truth: not just the tilt of our noses or the color of our bodies, but far more intimate characteristics–the shape of our feet or an inner tendency towards joy or sadness–have belonged to other people before we came along to inherit them. We came about because they decided to marry one person and not the other, to have six children instead of three, to move to a city instead of staying on the farm. It is remarkable to think of someone walking down the streets of sixteenth-century Amsterdam with my fingers and kneecaps, my tendency toward melancholy and my aptitude for music. We live within a web of holy obligation. We are connected to people of the world today, and to other invisible people: the unknown number of generations yet to be born. One of the most important things we can do, in the way we care for the earth and in the way we care for our local church life, is to recognize their potential presence. (pp.117-118)

It was during this period of work that Varda began to conceive a more theoretical approach to her art. She says, “[My work] deals with this question, ‘What is cinema?’ through how I found specific cinematic ways of telling what I was telling. I could have told you the same things that are in the film by just talking to you for six hours. But instead I found shapes” (Warwick). To give a name to her very particular and personal search for a cinematic language, Varda coined the term cinécriture. As she explains to Jean Decock: “When you write a musical score, someone else can play it, it’s a sign. When an architect draws up a detailed floor plan, anyone can build his house. But for me, there’s no way I could write a scenario that someone else could shoot, since the scenario doesn’t represent the writing of the film.” Later she would clarify, “The cutting, the movement, the points-of-view, the rhythm of filming and editing have been felt and considered in the way a writer chooses the depth of meaning of sentences, the type of words, number of adverbs, paragraphs, asides, chapters which advance the story or break its flow, etc. In writing its called style. In the cinema, style is cinécriture.” (Varda par Agnès [1994], 14).

Josephson had died just north of Abd al-Kuri Island, an uninhabited, mountainous desert with, on its eastern side, perhaps the world’s wildest and finest beach. To mollify Holworthy, in a moment of weakness not long after they had departed Lemonnier, Rensselaer had considered leaving a few SEALs there on the way south, to observe traffic, as on occasion irregular forces were ordered to do. But he had decided then that rather than mollify Holworthy, he would keep him down. The rendezvous point with the Puller wasn’t far, and, arriving first, Athena waited. The Puller was out of sight but in radio contact. Eventually they saw her to the west, and she came even with Athena at dusk, although in that latitude, as Josephson had learned, dusk is so short it hardly exists. With the lights of the Puller blazing despite wartime conditions, her vast superstructure, hollow and beamed like a box-girder bridge, was cast in flares and shadows. A brow was extended from a door in the side and fixed to Athena’s main deck. As a gentle swell moved the two ships up and down at different rates, the hinged brow tilted slightly one way and then another. The Iranian prisoners were escorted over the brow and to the brig in the Puller, which would take them very close to their own country, but then to the United States. They were bitter and depressed. The huge ship into the darkness of which they were swallowed seemed like an alien craft from another civilization, which, for them, it was. A gray metal coffin was carried to Athena by a detail from the Puller. This was a sad thing to see, sadder than struggle, sadder than blood. It disappeared below. Josephson’s body was placed inside it and the flag draped over it. Six of Athena’s crew in dress uniform carried it slowly to the brow and set it on deck. After a long silence, Rensselaer spoke a few words. “Our shipmates Speight and Josephson are no longer with us—Speight committed to the deep, lost except to God. And Josephson, who will go home. Neither of these men is unique in death. They are still very much like us, and we are like them: it’s only a matter of time—however long, however short. If upon gazing at this coffin you feel a gulf between you, the living, and him, one of the dead, remember that our fates are the same, and he isn’t as far from us as we may imagine. “At times like this I question our profession. I question the enterprise of war. And then I go on, as we shall, and as we must. In this spirit we bid goodbye to Ensign Josephson, to whom you might have been brothers, and I and the chiefs, perhaps, fathers. May God bless and keep him.” Then the captain read the 23rd Psalm, a salute was fired, and Josephson’s coffin was lifted to the shoulders of its bearers and slowly carried into the depths of the Puller. When he died, he was very young.

The cultural code of the stiff upper lip is not for her boys. She is teaching them that it is not “sissy” to show their feelings to others. When she took Prince William to watch the German tennis star Steffi Graff win the women’s singles final at Wimbledon last year they left the royal box to go backstage and congratulate her on her victory. As Graff walked off court down the dimly lit corridor to the dressing room, royal mother and son thought Steffi looked so alone and vulnerable out of the spotlight. So first Diana, then William gave her a kiss and an affectionate hug. The way the Princess introduced her boys to her dying friend, Adrian Ward-Jackson, was a practical lesson in seeing the reality of life and death. When Diana told her eldest son that Adrian had died, his instinctive response revealed his maturity. “Now he’s out of pain at last and really happy.” At the same time the Princess is acutely aware of the added burdens of rearing two boys who are popularly known as “the heir and the spare.” Self-discipline is part of the training. Every night at six o’clock the boys sit down and write thank-you notes or letters to friends and family. It is a discipline which Diana’s father instilled in her, so much so that if she returns from a dinner party at midnight she will not sleep easily unless she has penned a letter of thanks. William and Harry, now ten and nearly eight respectively, are now aware of their destiny. On one occasion the boys were discussing their futures with Diana. “When I grow up I want to be a policeman and look after you mummy,” said William lovingly. Quick as a flash Harry replied, with a note of triumph in his voice, “Oh no you can’t, you’ve got to be king.

I heard the fear in the first music I ever knew, the music that pumped from boom boxes full of grand boast and bluster. The boys who stood out on Garrison and Liberty up on Park Heights loved this music because it told them, against all evidence and odds, that they were masters of their own lives, their own streets, and their own bodies. I saw it in the girls, in their loud laughter, in their gilded bamboo earrings that announced their names thrice over. And I saw it in their brutal language and hard gaze, how they would cut you with their eyes and destroy you with their words for the sin of playing too much. “Keep my name out your mouth,” they would say. I would watch them after school, how they squared off like boxers, vaselined up, earrings off, Reeboks on, and leaped at each other. I felt the fear in the visits to my Nana’s home in Philadelphia. You never knew her. I barely knew her, but what I remember is her hard manner, her rough voice. And I knew that my father’s father was dead and that my uncle Oscar was dead and that my uncle David was dead and that each of these instances was unnatural. And I saw it in my own father, who loves you, who counsels you, who slipped me money to care for you. My father was so very afraid. I felt it in the sting of his black leather belt, which he applied with more anxiety than anger, my father who beat me as if someone might steal me away, because that is exactly what was happening all around us. Everyone had lost a child, somehow, to the streets, to jail, to drugs, to guns. It was said that these lost girls were sweet as honey and would not hurt a fly. It was said that these lost boys had just received a GED and had begun to turn their lives around. And now they were gone, and their legacy was a great fear. Have they told you this story? When your grandmother was sixteen years old a young man knocked on her door. The young man was your Nana Jo’s boyfriend. No one else was home. Ma allowed this young man to sit and wait until your Nana Jo returned. But your great-grandmother got there first. She asked the young man to leave. Then she beat your grandmother terrifically, one last time, so that she might remember how easily she could lose her body. Ma never forgot. I remember her clutching my small hand tightly as we crossed the street. She would tell me that if I ever let go and were killed by an onrushing car, she would beat me back to life. When I was six, Ma and Dad took me to a local park. I slipped from their gaze and found a playground. Your grandparents spent anxious minutes looking for me. When they found me, Dad did what every parent I knew would have done—he reached for his belt. I remember watching him in a kind of daze, awed at the distance between punishment and offense. Later, I would hear it in Dad’s voice—“Either I can beat him, or the police.” Maybe that saved me. Maybe it didn’t. All I know is, the violence rose from the fear like smoke from a fire, and I cannot say whether that violence, even administered in fear and love, sounded the alarm or choked us at the exit. What I know is that fathers who slammed their teenage boys for sass would then release them to streets where their boys employed, and were subject to, the same justice. And I knew mothers who belted their girls, but the belt could not save these girls from drug dealers twice their age. We, the children, employed our darkest humor to cope. We stood in the alley where we shot basketballs through hollowed crates and cracked jokes on the boy whose mother wore him out with a beating in front of his entire fifth-grade class. We sat on the number five bus, headed downtown, laughing at some girl whose mother was known to reach for anything—cable wires, extension cords, pots, pans. We were laughing, but I know that we were afraid of those who loved us most. Our parents resorted to the lash the way flagellants in the plague years resorted to the scourge.

She slipped into the shadows and waited, like a she-wolf, for her quarry. Bay caught her breath when Owen Blackthorne stepped into the cool night air. He was close enough to touch. His shaggy black hair looked rumpled, as though he’d shoved both hands through it in agitation. When he started to move off the porch, Bay reached out and grasped his sleeve. A second later she was slammed back against the wall, a powerful male hand at her throat choking her. She could feel the heat of him, the solid maleness of him. And panicked. She clawed at Owen’s flesh with her nails and drove her knee upward toward his genitals. Her thrust her upraised knee aside, and the full weight of his over-six-foot frame shoved hard against her from shoulders to thighs. Bay froze, staring up at him in mute horror. Her body trembled in shock. She tried to speak, but there was no air to be had beneath the crushing pressure of his grip on her throat. “What the hell . . .?” He released her throat and grabbed her arms to yank her into the narrow stream of light from the kitchen doorway. She gasped a breath of air, coughed, then gasped another, pressing a shaky hand to her injured throat. She wrenched to free herself, but he let her go without a struggle and took a wary step back. She rubbed her arms where he’d held her, wishing she’d approached him more directly. “What are you doing out here, Mizz Creed?” His voice was clipped but controlled. The violence she’d felt in his touch was still there in his eyes, which glittered with hostility. “It’s Dr. Creed,” she rasped, glaring back at him. He lifted a black brow. “Well, Dr. Creed.” She opened her mouth to say I need your help. But the words wouldn’t come. There was nothing wrong with her voice. She just hated the thought of asking a Blackthorne for anything. “I haven’t got all night,” he said. “There’s an emergency at the barn—” “Ruby’s foal has already been delivered safely,” she said. “I made up that story because I wanted to speak privately with you.

Glass" In every bar there’s someone sitting alone and absolutely absorbed by whatever he’s seeing in the glass in front of him, a glass that looks ordinary, with something clear or dark inside it, something partially drunk but never completely gone. Everything’s there: all the plans that came to nothing, the stupid love affairs, and the terrifying ones, the ones where actual happiness opened like a hole beneath his feet and he fell in, then lay helpless while the dirt rained down a little at a time to bury him. And his friends are there, cracking open six-packs, raising the bottles, the click of their meeting like the sound of a pool cue nicking a ball, the wrong ball, that now edges, black and shining, toward the waiting pocket. But it stops short, and at the bar the lone drinker signals for another. Now the relatives are floating up with their failures, with cancer, with plateloads of guilt and a little laughter, too, and even beauty—some afternoon from childhood, a lake, a ball game, a book of stories, a few flurries of snow that thicken and gradually cover the earth until the whole world’s gone white and quiet, until there’s hardly a world at all, no traffic, no money or butchery or sex, just a blessed peace that seems final but isn’t. And finally the glass that contains and spills this stuff continually while the drinker hunches before it, while the bartender gathers up empties, gives back the drinker’s own face. Who knows what it looks like; who cares whether or not it was young once, or ever lovely, who gives a shit about some drunk rising to stagger toward the bathroom, some man or woman or even lost angel who recklessly threw it all over—heaven, the ether, the celestial works—and said, Fuck it, I want to be human? Who believes in angels, anyway? Who has time for anything but their own pleasures and sorrows, for the few good people they’ve managed to gather around them against the uncertainty, against afternoons of sitting alone in some bar with a name like the Embers or the Ninth Inning or the Wishing Well? Forget that loser. Just tell me who’s buying, who’s paying; Christ but I’m thirsty, and I want to tell you something, come close I want to whisper it, to pour the words burning into you, the same words for each one of you, listen, it’s simple, I’m saying it now, while I’m still sober, while I’m not about to weep bitterly into my own glass, while you’re still here—don’t go yet, stay, stay, give me your shoulder to lean against, steady me, don’t let me drop, I’m so in love with you I can’t stand up. Kim Addonizio, Tell Me (BOA Editions Ltd.; First Edition (July 1, 2000)

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt

All the many successes and extraordinary accomplishments of the Gemini still left NASA’s leadership in a quandary. The question voiced in various expressions cut to the heart of the problem: “How can we send men to the moon, no matter how well they fly their ships, if they’re pretty helpless when they get there? We’ve racked up rendezvous, docking, double-teaming the spacecraft, starting, stopping, and restarting engines; we’ve done all that. But these guys simply cannot work outside their ships without exhausting themselves and risking both their lives and their mission. We’ve got to come up with a solution, and quick!” One manned Gemini mission remained on the flight schedule. Veteran Jim Lovell would command the Gemini 12, and his space-walking pilot would be Buzz Aldrin, who built on the experience of the others to address all problems with incredible depth and finesse. He took along with him on his mission special devices like a wrist tether and a tether constructed in the same fashion as one that window washers use to keep from falling off ledges. The ruby slippers of Dorothy of Oz couldn’t compare with the “golden slippers” Aldrin wore in space—foot restraints, resembling wooden Dutch shoes, that he could bolt to a work station in the Gemini equipment bay. One of his neatest tricks was to bring along portable handholds he could slap onto either the Gemini or the Agena to keep his body under control. A variety of space tools went into his pressure suit to go along with him once he exited the cabin. On November 11, 1966, the Gemini 12, the last of its breed, left earth and captured its Agena quarry. Then Buzz Aldrin, once and for all, banished the gremlins of spacewalking. He proved so much a master at it that he seemed more to be taking a leisurely stroll through space than attacking the problems that had frustrated, endangered, and maddened three previous astronauts and brought grave doubts to NASA leadership about the possible success of the manned lunar program. Aldrin moved down the nose of the Gemini to the Agena like a weightless swimmer, working his way almost effortlessly along a six-foot rail he had locked into place once he was outside. Next came looping the end of a hundred-foot line from the Agena to the Gemini for a later experiment, the job that had left Dick Gordon in a sweatbox of exhaustion. Aldrin didn’t show even a hint of heavy breathing, perspiration, or an increased heartbeat. When he spoke, his voice was crisp, sharp, clear. What he did seemed incredibly easy, but it was the direct result of his incisive study of the problems and the equipment he’d brought from earth. He also made sure to move in carefully timed periods, resting between major tasks, and keeping his physical exertion to a minimum. When he reached the workstation in the rear of the Gemini, he mounted his feet and secured his body to the ship with the waist tether. He hooked different equipment to the ship, dismounted other equipment, shifted them about, and reattached them. He used a unique “space wrench” to loosen and tighten bolts with effortless skill. He snipped wires, reconnected wires, and connected a series of tubes. Mission Control hung on every word exchanged between the two astronauts high above earth. “Buzz, how do those slippers work?” Aldrin’s enthusiastic voice came back like music. “They’re great. Great! I don’t have any trouble positioning my body at all.” And so it went, a monumental achievement right at the end of the Gemini program. Project planners had reached all the way to the last inch with one crucial problem still unsolved, and the man named Aldrin had whipped it in spectacular fashion on the final flight. Project Gemini was

Lady Thornton, how very good of you to find the time to pay us a social call! Would it be too pushing of me to inquire as to your whereabouts during the last six weeks?” At that moment Elizabeth’s only thought was that if Ian’s barrister felt this way about her, how much more hatred she would face when she confronted Ian himself. “I-I can imagine what you must be thinking,” she began in a conciliatory manner. He interrupted sarcastically, “Oh, I don’t think you can, madam. If you could, you’d be quite horrified at this moment.” “I can explain everything,” Elizabeth burst out. “Really?” he drawled blightingly. “A pity you didn’t try to do that six weeks ago!” “I’m here to do it now,” Elizabeth cried, clinging to a slender thread of control. “Begin at your leisure,” he drawled sarcastically. “here are only three hundred people across the hall awaiting your convenience.” Panic and frustration made Elizabeth’s voice shake and her temper explode. “Now see here, sir, I have not traveled day and night so that I can stand here while you waste time insulting me! I came here the instant I read a paper and realized my husband is in trouble. I’ve come to prove I’m alive and unharmed, and that my brother is also alive!” Instead of looking pleased or relieved he looked more snide than before. “Do tell, madam. I am on tenterhooks to hear the whole of it.” “Why are you doing this?” Elizabeth cried. “For the love of heaven, I’m on your side!” “Thank God we don’t have more like you.” Elizabeth steadfastly ignored that and launched into a swift but complete version of everything that had happened from the moment Robert came up behind her at Havenhurst. Finished, she stood up, ready to go in and tell everyone across the hall the same thing, but Delham continued to pillory her with his gaze, watching her in silence above his steepled fingertips. “Are we supposed to believe that Banbury tale?” he snapped at last. “Your brother is alive, but he isn’t here. Are we supposed to accept the word of a married woman who brazenly traveled as man and wife with another man-“ “With my brother,” Elizabeth retorted, bracing her palms on the desk, as if by sheer proximity she could make him understand. “So you want us to believe. Why, Lady Thornton? Why this sudden interest in your husband’s well-being?” “Delham!” the duchess barked. “Are you mad? Anyone can see she’s telling the truth-even I-and I wasn’t inclined to believe a word she said when she arrived at my house! You are tearing into her for no reason-“ Without moving his eyes from Elizabeth, Mr. Delham said shortly, “Your grace, what I’ve been doing is nothing to what the prosecution will try to do to her story. If she can’t hold up in here, she hasn’t a chance out there!” “I don’t understand this at all!” Elizabeth cried with panic and fury. “By being here I can disprove that my husband has done away with me. And I have a letter from Mrs. Hogan describing my brother in detail and stating that we were together. She will come here herself if you need her, only she is with child and couldn’t travel as quickly as I had to do. This is a trial to prove whether or not my husband is guilty of those crimes. I know the truth, and I can prove he isn’t.” “You’re mistaken, Lady Thornton,” Delham said in a bitter voice. “Because of its sensational nature and the wild conjecture in the press, this is no longer a quest for truth and justice in the House of Lords. This is now an amphitheater, and the prosecution is in the center of the stage, playing a starring role before an audience of thousands all over England who will read about it in the papers. They’re bent on giving a stellar performance, and they’ve been doing just that. Very well,” he said after a moment. “Let’s see how well you can deal with them.

Hyphen This word comes from two Greek words together meaning ‘under one’, which gets nobody anywhere and merely prompts the reflection that argument by etymology only serves the purpose of intimidating ignorant antagonists. On, then. This is one more case in which matters have not improved since Fowler’s day, since he wrote in 1926: The chaos prevailing among writers or printers or both regarding the use of hyphens is discreditable to English education … The wrong use or wrong non-use of hyphens makes the words, if strictly interpreted, mean something different from what the writers intended. It is no adequate answer to such criticisms to say that actual misunderstanding is unlikely; to have to depend on one’s employer’s readiness to take the will for the deed is surely a humiliation that no decent craftsman should be willing to put up with. And so say all of us who may be reading this book. The references there to ‘printers’ needs updating to something like ‘editors’, meaning those who declare copy fit to print. Such people now often get it wrong by preserving in midcolumn a hyphen originally put at the end of a line to signal a word-break: inter-fere, say, is acceptable split between lines but not as part of a single line. This mistake is comparatively rare and seldom causes confusion; even so, time spent wondering whether an exactor may not be an ex-actor is time avoidably wasted. The hyphen is properly and necessarily used to join the halves of a two-word adjectival phrase, as in fair-haired children, last-ditch resistance, falling-down drunk, over-familiar reference. Breaches of this rule are rare and not troublesome. Hyphens are also required when a phrase of more than two words is used adjectivally, as in middle-of-the-road policy, too-good-to-be-true story, no-holds-barred contest. No hard-and-fast rule can be devised that lays down when a two-word phrase is to be hyphenated and when the two words are to be run into one, though there will be a rough consensus that, for example, book-plate and bookseller are each properly set out and that bookplate and book-seller might seem respectively new-fangled and fussy. A hyphen is not required when a normal adverb (i.e. one ending in -ly) plus an adjective or other modifier are used in an adjectival role, as in Jack’s equally detestable brother, a beautifully kept garden, her abnormally sensitive hearing. A hyphen is required, however, when the adverb lacks a final -ly, like well, ill, seldom, altogether or one of those words like tight and slow that double as adjectives. To avoid ambiguity here we must write a well-kept garden, an ill-considered objection, a tight-fisted policy. The commonest fault in the use of the hyphen, and the hardest to eradicate, is found when an adjectival phrase is used predicatively. So a gent may write of a hard-to-conquer mountain peak but not of a mountain peak that remains hard-to-conquer, an often-proposed solution but not of one that is often-proposed. For some reason this fault is especially common when numbers, including fractions, are concerned, and we read every other day of criminals being imprisoned for two-and-a-half years, a woman becoming a mother-of-three and even of some unfortunate being stabbed six-times. And the Tories have been in power for a decade-and-a-half. Finally, there seems no end to the list of common phrases that some berk will bung a superfluous hyphen into the middle of: artificial-leg, daily-help, false-teeth, taxi-firm, martial-law, rainy-day, airport-lounge, first-wicket, piano-concerto, lung-cancer, cavalry-regiment, overseas-service. I hope I need not add that of course one none the less writes of a false-teeth problem, a first-wicket stand, etc. The only guide is: omit the hyphen whenever possible, so avoid not only mechanically propelled vehicle users (a beauty from MEU) but also a man eating tiger. And no one is right and no-one is wrong.