Small Line Quotes

Fear is a strange soil. It grows obedience like corn, which grow in straight lines to make weeding easier. But sometimes it grows the potatoes of defiance, which flourish underground.

Gradually it was disclosed to me that the line separating good and evil passes not through states, nor between classes, nor between political parties either -- but right through every human heart -- and through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained. And even in the best of all hearts, there remains ... an unuprooted small corner of evil. Since then I have come to understand the truth of all the religions of the world: They struggle with the evil inside a human being (inside every human being). It is impossible to expel evil from the world in its entirety, but it is possible to constrict it within each person.

The moments that define lives aren't always obvious. They don't scream LEDGE, and nine times out of ten there's no rope to duck under, no line to cross, no blood pact, no official letter on fancy paper. They aren't always protracted, heavy with meaning. Between one sip and the next, Victor made the biggest mistake of his life, and it was made of nothing more than one line. Three small words. "I'll go first.

The line separating good and evil passes not through states, nor between classes, nor between political parties either -- but right through every human heart -- and through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained

People make mistakes all the time. Small ones, like you get in the wrong checkout line. The one with the lady with a hundred coupons and a checkbook. Sometimes you make medium-sized ones. You go to medical school instead of pursuing you passion. Sometimes you make big ones. You give up.

Step Away from the Mean Girls… …and say bye-bye to feeling bad about your looks. Are you ready to stop colluding with a culture that makes so many of us feel physically inadequate? Say goodbye to your inner critic, and take this pledge to be kinder to yourself and others. This is a call to arms. A call to be gentle, to be forgiving, to be generous with yourself. The next time you look into the mirror, try to let go of the story line that says you're too fat or too sallow, too ashy or too old, your eyes are too small or your nose too big; just look into the mirror and see your face. When the criticism drops away, what you will see then is just you, without judgment, and that is the first step toward transforming your experience of the world.

The hallway was lined with numbered doors, odd numbers on one side and even numbers on the other, and large ornamental vases, too large to hold flowers and too small to hold spies.

I’m beginning to recognise that real happiness isn’t something large and looming on the horizon ahead, but something small, numerous and already here. The smile of someone you love. A decent breakfast. The warm sunset. Your little everyday joys all lined up in a row.

***A SMALL THEORY*** People observe the colors of a day only at its beginnings and its ends, but to me it's quite clear that a day merges through a multitude of shades and intonations, with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them.

Will!” He turned at the familiar voice and saw Tessa. There was a small path cut along the side of the hill, lined with unfamiliar white flowers, and she was walking up it, toward him. Her long brown hair blew in the wind — she had taken off her straw bonnet, and held it in one hand, waving it at him and smiling as if she were glad to see him. His own heart leaped up at the sight of her. “Tess,” he called. But she was still such a distance away — she seemed both very near and very far suddenly and at the same time. He could see every detail of her pretty, upturned face, but could not touch her, and so he stood, waiting and desiring, and his heart beat like the wings of seagulls in his chest. At last she was there, close enough that he could see where the grass and flowers bent beneath the tread of her shoes. He reached out for her —

He was like one of those pictures full of small errors, the kind you could only pick out by searching the image from every angle, and even then, a few always slipped by. On the surface, Eli seemed perfectly normal, but now and then Victor would catch a crack, a sideways glance, a moment when his roommate's face and his words, his look and his meaning, would not line up. Those fleeting slices fascinated Victor. It was like watching two people, one hiding in the other's skin. And their skin was always too dry, on the verge of cracking and showing the color of the thing beneath.

It was a dark, blustery afternoon in spring, and the city of London was chasing a small mining town across the dried-out bed of the old North Sea.

You see!" said a strained voice. Tonks was glaring at Lupin. "She still wants to marry him, even though he's been bitten! She doesn't care!" "It's different," said Lupin, barely moving his lips and looking suddenly tense. "Bill will not be a full werewolf. The cases are completely-" "But I don't care either, I don't care!" said Tonks, seizing the front of Lupin's robes and shaking them. "I've told you a million times...." And the meaning of Tonk's Patronus and her mouse-colored hair, and the reason she had come running to find Dumbledore when she had heard a rumor someone had been attacked by Greyback, all suddenly became clear to Harry; it had not been Sirius that Tonks had fallen in love with after all. "And I've told you a million times," said Lupin, refusing to meet her eyes, staring at the floor, "that I am too old for you, too poor....too dangerous...." "I've said all along you're taking a ridiculous line on this, Remus," said Mrs. Weasley over Fleur's shoulder as she patted her on the back. "I am not being ridiculous," said Lupin steadily. "Tonks deserves somebody young and whole." "But she wants you," said Mr. Weasley, with a small smile. "And after all, Remus, young and whole men do not necessarily remain so." He gestured sadly at his son, lying between them. "This is....not the moment to discuss it," said Lupin, avoiding everybody's eyes as he looked around distractedly. "Dumbledore is dead...." "Dumbledore would have been happier than anybody to think that there was a little more love in the world," said Professor McGonagall curtly...

What is he?” “I can’t puzzle it out. He doesn’t have horns, pointed ears—or apparently a need to eat. He does have small fangs, but he also sports a tan line.” “You checked? Natalya, you durrrty bitch.” “Hey, I had to determine if he was a blood sucker or not. Now I don’t know what to think.

With a chaste heart With pure eyes I celebrate your beauty Holding the leash of blood So that it might leap out and trace your outline Where you lie down in my Ode As in a land of forests or in surf In aromatic loam, or in sea music Beautiful nude Equally beautiful your feet Arched by primeval tap of wind or sound Your ears, small shells Of the splendid American sea Your breasts of level plentitude Fulfilled by living light Your flying eyelids of wheat Revealing or enclosing The two deep countries of your eyes The line your shoulders have divided into pale regions Loses itself and blends into the compact halves of an apple Continues separating your beauty down into two columns of Burnished gold Fine alabaster To sink into the two grapes of your feet Where your twin symmetrical tree burns again and rises Flowering fire Open chandelier A swelling fruit Over the pact of sea and earth From what materials Agate? Quartz? Wheat? Did your body come together? Swelling like baking bread to signal silvered hills The cleavage of one petal Sweet fruits of a deep velvet Until alone remained Astonished The fine and firm feminine form It is not only light that falls over the world spreading inside your body Yet suffocate itself So much is clarity Taking its leave of you As if you were on fire within The moon lives in the lining of your skin.

I don’t know if you have ever seem a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads in the island; for the Neverland is always more or less and island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with six elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose.

Kizzy wanted to be a woman who would dive off the prow of a sailboat into the sea, who would fall back in a tangle of sheets, laughing, and who could dance a tango, lazily stroke a leopard with her bare foot, freeze an enemy's blood with her eyes, make promises she couldn't possibly keep, and then shift the world to keep them. She wanted to write memoirs and autograph them at a tiny bookshop in Rome, with a line of admirers snaking down a pink-lit alley. She wanted to make love on a balcony, ruin someone, trade in esoteric knowledge, watch strangers as coolly as a cat. She wanted to be inscrutable, have a drink named after her, a love song written for her, and a handsome adventurer's small airplane, champagne-christened Kizzy, which would vanish one day in a windstorm in Arabia so that she would have to mount a rescue operation involving camels, and wear an indigo veil against the stinging sand, just like the nomads. Kizzy wanted.

Steve Jobs gave a small private presentation about the iTunes Music Store to some independent record label people. My favorite line of the day was when people kept raising their hand saying, "Does it do [x]?", "Do you plan to add [y]?". Finally Jobs said, "Wait wait — put your hands down. Listen: I know you have a thousand ideas for all the cool features iTunes could have. So do we. But we don't want a thousand features. That would be ugly. Innovation is not about saying yes to everything. It's about saying NO to all but the most crucial features.

Some believe it is only great power that can hold evil in check, but that is not what I have found. It is the small everyday deeds of ordinary folk that keep the darkness at bay. Small acts of kindness and love. [Incorrectly attributed to Tolkien. It is a line from the Hobbit movie that did not appear in the books.]

I wake sometimes in the dark terrified by my life's precariousness, its thready breath. Beside me, my husband's pulse beats at his throat; in their beds, my children's skin shows every faintest scratch. A breeze would blow them over, and the world is filled with more than breezes: diseases and disasters, monsters and pain in a thousand variations. I do not forget either my father and his kind hanging over us, bright and sharp as swords, aimed at our tearing flesh. If they do not fall on us in spite and malice, then they will fall by accident or whim. My breath fights in my throat. How can I live on beneath such a burden of doom? I rise then and go to my herbs. I create something, I transform something. My witchcraft is as strong as ever, stronger. This too is good fortune. How many have such power and leisure and defense as I do? Telemachus comes from our bed to find me. He sits with me in the greensmelling darkness, holding my hand. Our faces are both lined now, marked with our years. Circe, he says, it will be all right. It is not the saying of an oracle or a prophet. They are words you might speak to a child. I have heard him say them to our daughters, when he rocked them back to sleep from a nightmare, when he dressed their small cuts, soothed whatever stung. His skin is familiar as my own beneath my fingers. I listen to his breath, warm upon the night air, and somehow I am comforted. He does not mean it does not hurt. He does not mean we are not frightened. Only that: we are here. This is what it means to swim in the tide, to walk the earth and feel it touch your feet. This is what it means to be alive.

Blake took a small roll from the tray on the table, then put it back in favor of a larger one. And maybe a little butter. It certainly couldn't hurt. And jam...no, he drew the line at jam. She was a spy, after all.

For the sake of a few lines one must see many cities, men and things. One must know the animals, one must feel how the birds fly and know the gesture with which the small flowers open in the morning. One must be able to think back to roads in unknown regions, to unexpected meetings and to partings which one had long seen coming; to days of childhood that are still unexplained, to parents that one had to hurt when they brought one some joy and one did not grasp it (it was joy for someone else); to childhood illness that so strangely began with a number of profound and grave transformations, to days in rooms withdrawn and quiet and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along on high and flew with all the stars-and it is not enough if one may think all of this. One must have memories of many nights of love, none of which was like the others, of the screams of women in labor, and of light, white, sleeping women in childbed, closing again. But one must also have been beside the dying, one must have sat beside the dead in the room with the open window and the fitful noises. And still it is not enough to have memories. One must be able to forget them when they are many, and one must have the great patience to wait until they come again. For it is not yet the memories themselves. Not until they have turned to blood within us, to glance, to gesture, nameless and no longer to be distinguished from ourselves-not until then can it happen that in a most rare hour the first word of a verse arises in their midst and goes forth from them.

Joan of Arc came back as a little girl in Japan, and her father told her to stop listening to her imaginary friends. Elvis was born again in a small village in Sudan, he died hungry, age 9, never knowing what a guitar was. Michelangelo was drafted into the military at age 18 in Korea, he painted his face black with shoe polish and learned to kill. Jackson Pollock got told to stop making a mess, somewhere in Russia. Hemingway, to this day, writes DVD instruction manuals somewhere in China. He’s an old man on a factory line. You wouldn’t recognise him. Gandhi was born to a wealthy stockbroker in New York. He never forgave the world after his father threw himself from his office window, on the 21st floor. And everyone, somewhere, is someone, if we only give them a chance.

This is how it should be done: lodge yourself on a stratum, experiment with the opportunities it offers, find an advantageous place on it, find potential movements of deterritorialization, possible lines of flight, experience them, produce flow conjunctions here and there, try out continuums of intensities segment by segment, have a small plot of new land at all times.

Tanned, toned, curves in the right places and that small waist…lips, hair, eyes all packaged up like a siren. If she’s a siren, I heard her call, and I’m diving in hook, line, and sinker. - Drew Donovan

so here i sit. a sum of the parts. about a third way down this wonderful path, so to speak. and i've been thinking lately about a friendship that fell apart with time, with distance, and with the misunderstanding of youth. i'm trying not to confuse sadness with regret. not the easiest thing at times. i dont regret that certain things happened. i understand that perhaps i had a choice in the matter, or perhaps i believe in fate. probably not, but so far actions as small as the quickest glance to events as monumental as death have pushed me slowly along to right here, right now. there was no other way to get here. the meandering and erratic path was actually the straightest of lines. take away a handful of angry words, things once thought of as mistakes or regrets, and i'm suddenly a different person with a different history, a different future. that, i would regret. so here i sit. thinking about a person i once called my best friends. a man who might be full of sadness and regret, who might not give a damn, or who might, just might, remember the future and realize that's where its at.

The books I liked became a Bible from which I drew advice and support; I copied out long passages from them; I memorized new canticles and new litanies, psalms, proverbs, and prophecies, and I sanctified every incident in my life by the recital of these sacred texts. My emotions, my tears, and my hopes were no less sincere on account of that; the words and the cadences, the lines and the verses were not aids to make believe: but they rescued from silent oblivion all those intimate adventures of the spirit that I couldn’t speak to anyone about; they created a kind of communion between myself and those twin souls which existed somewhere out of reach; instead of living out my small private existence, I was participating in a great spiritual epic.

Our lives are made up of choices. Big ones, small ones, strung together by the thin air of good intentions; a line of dominoes, ready to fall.

The unexplainable thing in nature that makes me feel the world is big fat beyond my understanding – to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill.

The point is, Jenna, no one is normal or perfect like that house you see across the street. Everyone suffers from their own struggles, whether they’re big or small.

The dawn was coming then. All the lower valley was covered with mist, and sometimes little pieces of it broke off and floated away in small clouds. The sky was lighter in the east, and the horizon was a thin golden line. The clouds changed from gray to pink, and the mist was touched with gold. There was a silent moment when everything held its breath, and then the sun rose. It was beautiful.

There is a time in the life of every boy when he for the first time takes the backward view of life. Perhaps that is the moment when he crosses the line into manhood. The boy is walking through the street of his town. He is thinking of the future and of the figure he will cut in the world. Ambitions and regrets awake within him. Suddenly something happens; he stops under a tree and waits as for a voice calling his name. Ghosts of old things creep into his consciousness; the voices outside of himself whisper a message concerning the limitations of life. From being quite sure of himself and his future he becomes not at all sure. If he be an imaginative boy a door is torn open and for the first time he looks out upon the world, seeing, as though they marched in procession before him, the countless figures of men who before his time have come out of nothingness into the world, lived their lives and again disappeared into nothingness. The sadness of sophistication has come to the boy. With a little gasp he sees himself as merely a leaf blown by the wind through the streets of his village. He knows that in spite of all the stout talk of his fellows he must live and die in uncertainty, a thing blown by the winds, a thing destined like corn to wilt in the sun.

I think most of us are looking for a calling, not a job. Most of us, like the assembly-line worker, have jobs that are too small for our spirit. Jobs are not big enough for people.

The worst thing is not that the world is unfree, but that people have unlearned their liberty. The more indifferent people are to politics, to the interests of others, the more obsessed they become with their own faces. The individualism of our time. Not being able to fall asleep and not allowing oneself to move: the marital bed. If high culture is coming to an end, it is also the end of you and your paradoxical ideas, because paradox as such belongs to high culture and not to childish prattle. You remind me of the young men who supported the Nazis or communists not out of cowardice or out of opportunism but out of an excess of intelligence. For nothing requires a greater effort of thought than arguments to justify the rule of nonthought… You are the brilliant ally of your own gravediggers. In the world of highways, a beautiful landscape means: an island of beauty connected by a long line with other islands of beauty. How to live in a world with which you disagree? How to live with people when you neither share their suffering nor their joys? When you know that you don’t belong among them?... our century refuses to acknowledge anyone’s right to disagree with the world…All that remains of such a place is the memory, the ideal of a cloister, the dream of a cloister… Humor can only exist when people are still capable of recognizing some border between the important and the unimportant. And nowadays this border has become unrecognizable. The majority of people lead their existence within a small idyllic circle bounded by their family, their home, and their work... They live in a secure realm somewhere between good and evil. They are sincerely horrified by the sight of a killer. And yet all you have to do is remove them from this peaceful circle and they, too, turn into murderers, without quite knowing how it happened. The longing for order is at the same time a longing for death, because life is an incessant disruption of order. Or to put it the other way around: the desire for order is a virtuous pretext, an excuse for virulent misanthropy. A long time a go a certain Cynic philosopher proudly paraded around Athens in a moth-eaten coat, hoping that everyone would admire his contempt for convention. When Socrates met him, he said: Through the hole in your coat I see your vanity. Your dirt, too, dear sir, is self-indulgent and your self-indulgence is dirty. You are always living below the level of true existence, you bitter weed, you anthropomorphized vat of vinegar! You’re full of acid, which bubbles inside you like an alchemist’s brew. Your highest wish is to be able to see all around you the same ugliness as you carry inside yourself. That’s the only way you can feel for a few moments some kind of peace between yourself and the world. That’s because the world, which is beautiful, seems horrible to you, torments you and excludes you. If the novel is successful, it must necessarily be wiser than its author. This is why many excellent French intellectuals write mediocre novels. They are always more intelligent than their books. By a certain age, coincidences lose their magic, no longer surprise, become run-of-the-mill. Any new possibility that existence acquires, even the least likely, transforms everything about existence.

I repent nothing. A line remembered from the fog of the Internet. I am heartless, she thinks, but she knows even through her guilt that this isn't true. She knows there are traps everywhere that can make her cry, she knows the way she dies a little every time someone asks her for change and she doesn't give it to them means that she's too soft for this world or perhaps just for this city, she feels so small here. There are tears in her eyes now. Miranda is a person with very few certainties, but one of them is that only the dishonorable leave when things get difficult.

War seems like a fine adventure, the greatest most of them will ever know. Then they get a taste of battle. For some, that one taste is enough to break them. Others go on for years, until they lose count of all the battles they have fought in, but even a man who has survived a hundred fights can break in his hundred-and-first. Brothers watch their brothers die, fathers lose their sons, friends see their friends trying to hold their entrails in after they’ve been gutted by an axe. They see the lord who led them there cut down, and some other lord shouts that they are his now, They take the wound, and when that’s still half-healed they take another. There is never enough to eat, their shoes fall to pieces from marching, their clothes are torn and rotting, and half of them are shitting in their breeches from drinking bad water. If they want new boots or a warmer cloak or maybe a rusted iron half helm, they need to take them from a corpse, and before long they are stealing from the living too, from the small folk whose land they’re fighting in, men very like the men they used to be. They slaughter their sheep and steal their chickens, and from there it’s just a short step to carrying off their daughters too. And one day they look around and realize all their friends and kin are gone, that they are fighting beside strangers beneath a banner that they hardly recognize. They don’t know where they are or how to get back home and the lord they’re fighting for does not know their names, yet here he comes, shouting for them to form up, to make a line with their spears and scythes and sharpened hoes, to stand their ground. And the knights come down on them, faceless men clad in all steel, and the iron thunder of their charge seems to fill the world. And the man breaks.

Just before it was dark, as they passed a great island of Sargasso weed that heaved and swung in the light sea as though the ocean were making love with something under a yellow blanket, his small line was taken by a dolphin. He saw it first when it jumped in the air, true gold in the last of the sun and bending and flapping wildly in the air.

The line separating good and evil passes not through states, nor between classes, nor between political parties either – but right through every human heart…even within hearts overwhelmed by evil, one small bridgehead of good is retained. And even in the best of all hearts, there remains…an uprooted small corner of evil. Thanks to ideology the twentieth century was fated to experience evildoing calculated on a scale in the millions. Alas, all the evil of the twentieth century is possible everywhere on earth. Yet, I have not given up all hope that human beings and nations may be able, in spite of all, to learn from the experience of other people without having to go through it personally.

She's not much taller than Tess and definitely lighter than Kaede. For a second it seems like the crowd's attention has made her umcomfortable and I'm ready to dismiss her as a real contender until I study her again. No, this girl is nothing like the last one. She's hesitating not because she's afraid to fight,or because she fears losing,but because she's thinking. Calculating.She has dark hair tied back in a high ponytail and a lean, athletic build. She stands deliberately, with a hand resting on her hip, as if nothing in the world can catch her off guard. I find myself pausing to admire her face. For a brief moment,I'm lost to my surroundings. The girl shakes her head at Kaede. This surprises me too-I've never seen anyone refuse to fight. Everyone knows the rules: if you're chosen,you fight. This girl doesn't seem to fear the crowds wrath. Kaede laughs at her and says something I can't quite make out. Tess hears it,though, and casts me a quick, concerned glance. This time the girl nods. The crowd lets out another cheer,and Kaede smiles. I lean a little bit out from behind the chimney. Something about this girl...I don't know what it is.But her eyes burn in the light,and although it's hot and might be my imagination, I think I see a small smile on the girl's face. Tess shoots a questioning look at me.I hesitate for a split second,then hold up one finger again. I'm grateful to this mystery girl for helping Tess out, but with my money on the line,I decide to play it safe. Tess nods,then casts our bet in favor of Kaede. But the instant the new girl steps into the circle and I see her stance...I know I've made a big mistake.Kaede strikes like a bull, a battering ram. This girl strikes like a viper.

Other letters simply relate the small events that punctuate the passage of time: roses picked at dusk, the laziness of a rainy Sunday, a child crying himself to sleep. Capturing the moment, these small slices of life, these small gusts of happiness, move me more deeply than all the rest. A couple of lines or eight pages, a Middle Eastern stamp or a suburban postmark . . . I hoard all these letters like treasure. One day I hope to fasten them end to end in a half-mile streamer, to float in the wind like a banner raised to the glory of friendship. It will keep the vultures at bay.

Our lives are made up of choices. Big ones, small ones, strung together by the thin air of good intentions; a line of dominoes, ready to fall. Which shirt to wear on a cold winter's morning, what crappy junk food to eat for lunch. It starts out so innocently, you don't even notice: go to this party or that movie, listen to this song, or read that book, and then, somehow, you've chosen your college and career; your boyfriend or wife.

Old England is an imaginary place, a landscape built from words, woodcuts, films, paintings, picturesque engravings. It is a place imagined by people, and people do not live very long or look very hard. We are very bad at scale. The things that live in the soil are too small to care about; climate change too large to imagine. We are bad at time too. We cannot remember what lived here before we did; we cannot love what is not. Nor can we imagine what will be different when we are dead. We live out our three score and ten, and tie our knots and lines only to ourselves. We take solace in pictures, and we wipe the hills of history.

Sam looked at her outstretched hand, which he knew as well as any hand except his own---the precise pattern of the lines that made up the grid of her palm, the slim fingers with the purplish veins at the knuckles, the particular creamy olive hue of her skin, her delicate wrist, pinkish, with a penumbral callus that must have come from Dov, the white gold bracelet she wore that he knew had been a gift from Freda on her twelfth birthday. How could she honestly think he wouldn't know about the handcuffs? He had spent hours sitting next to her, playing games and then making them, staring at her hands as her fingers flew across a keyboard or jabbed at a controller. Tell me I don't know you, Sam thought. Tell me I don't know you when I could draw both sides of this hand, your hand, from memory.

A Ritual to Read to Each Other If you don’t know the kind of person I am and I don’t know the kind of person you are a pattern that others made may prevail in the world and following the wrong god home we may miss our star. For there is many a small betrayal in the mind, a shrug that lets the fragile sequence break sending with shouts the horrible errors of childhood storming out to play through the broken dyke. And as elephants parade holding each elephant’s tail, but if one wanders the circus won’t find the park, I call it cruel and maybe the root of all cruelty to know what occurs but not recognize the fact. And so I appeal to a voice, to something shadowy, a remote important region in all who talk: though we could fool each other, we should consider--- lest the parade of our mutual life get lost in the dark. For it is important that awake people be awake, or a breaking line may discourage them back to sleep; the signals we give---yes or no, or maybe--- should be clear: the darkness around us is deep.

A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city. Good movies make you care, make you believe in possibilities again. If somewhere in the Hollywood-entertainment world someone has managed to break through with something that speaks to you, then it isn’t all corruption. The movie doesn’t have to be great; it can be stupid and empty and you can still have the joy of a good performance, or the joy in just a good line. An actor’s scowl, a small subversive gesture, a dirty remark that someone tosses off with a mock-innocent face, and the world makes a little bit of sense. Sitting there alone or painfully alone because those with you do not react as you do, you know there must be others perhaps in this very theatre or in this city, surely in other theatres in other cities, now, in the past or future, who react as you do. And because movies are the most total and encompassing art form we have, these reactions can seem the most personal and, maybe the most important, imaginable. The romance of movies is not just in those stories and those people on the screen but in the adolescent dream of meeting others who feel as you do about what you’ve seen. You do meet them, of course, and you know each other at once because you talk less about good movies than about what you love in bad movies.

I never really know the protocol for this kind of situation. It's like when you're in line at a store, and a grandma starts telling you all about her grandchildren or her arthritis, and you smile and nod along. But then it's your turn to check out, so you're just like okay, well, good-bye forever.

Well, see, I think it's that most people don't like that lonely feeling. People don't like looking up and feeling small or lost. That's what I think prayer is all about. It doesn't matter which stories they believe in, they're all doing the same thing, kind of casting a line out to outer space, like there's something out there to connect to. It's like people make themselves part of something bigger that way, and maybe it makes them less afraid.

When we were small, Rose and I used to play a game called connect the dots. I loved it. I loved drawing a line from dot number 1 to dot number 2 and so on. Most of all, I loved the moment when the chaotic sprinkle of dots resolved itself into a picture. That's what stories do. They connect the random dots of life into a picture. But it's all an illusion. Just try to connect the dots of life. You'll end up with a lunatic scribble.

But in another book by J. M. Barrie called The Little White Bird … he writes …” He started flipping through a small book on the podium until he found the page he was looking for, and then he put on his reading glasses. “ ‘Shall we make a new rule of life … always to try to be a little kinder than is necessary?’ ” Here Mr. Tushman looked up at the audience. “Kinder than is necessary,” he repeated. “What a marvelous line, isn’t it? Kinder than is necessary. Because it’s not enough to be kind. One should be kinder than needed.

I’ll get you another red dress.” She wiped the backs of her hands over her cheeks at the snarl. “You will?” He glared down at her. “Yes. But you must not cry. I won’t get you any dresses if you cry.” “I don’t normally cry.” “You will never do it.” “Well, I’m afraid I may sometimes,” she said apologetically. “Women need to cry.” Lines formed between his brows. “How many times in a year?”“Maybe five or six,” she said, thinking about it. “But really, it’s usually a very small cry and not in front of anyone At that, his scowl grew even darker. “I will permit you to cry four times a year. And you will do it when I am here.

I was observing her closely as I talked, and after a while I began to get the impression that she was not, in fact, quite so merry and smiling a girl as I had been led to believe at first. She seemed to be coiled in herself, as though with a secret she was jealously guarding. The deep-blue eyes moved too quickly about the room, never settling or resting on one thing for more than a moment; and over all her face, though so faint that they might not even have been there, those small downward lines of sorrow.

Kestrel's eyes slipped shut. She faded in and out of sleep. When Arin spoke again, she wasn't sure whether he expected her to to hear him. 'I remember sitting with my mother in a carriage.' There was a long pause. Then Arin's voice came again in that slow, fluid way that showed the singer in him. 'In my memory, I am small and sleepy, and she is doing something strange. Every time the carriage turns into the sun, she raises her hand as if reaching for something. The light lines her fingers with fire. Then the carriage passes through shadows, and her hand falls. Again sunlight beams through the window, and again her hand lifts. It becomes and eclipse.' Kestrel listened, and it was as if the story itself was an eclipse, drawing its darkness over her. 'Just before I fell asleep,' he said, 'I realized that she was shading my eyes from the sun.' She heard Arin shift, felt him look at her. 'Kestrel.' She imagined how he would sit, lean forward. How he would look in the glow of the carriage lantern. 'Survival isn't wrong. You can sell your honor in small ways, so long as you guard yourself. You can pour a glass of wine like it's meant to be poured, and watch a man drink, and plot your revenge.' Perhaps his head tilted slightly at this. 'You probably plot even in your sleep.' There was a silence as long as a smile. 'Plot away, Kestrel. Survive. If I hadn't lived, no one would remember my mother, not like I do.' Kestrel could no longer deny sleep. It pulled her under. 'And I would never have met you.

And then they appeared. Along the edge of the foothills. A line of golden-armored warriors, foot soldiers and cavalry alike. More and more and more, a great line spreading across the crest of the final hill. Filling the skies, stretching into the horizon, flew mighty, armored birds with riders. Ruks. And before them all, sword raised to the sky as that horn blew one last time, the ruby in the blade’s pommel smoldering like a small sun … Before them all, riding on the Lord of the North, was Aelin.

No one else. It was me who had to carry myself over the finish line, and all I needed to remember when I felt like not trying was that that feeling wouldn't last forever. Forever. I used to believe it didn't exist. One word has terrified me as a child and it haunted me. But now I knew, and many small ways, but it was real, But it didn't scare me anymore. Forever wasn't a little girl cowering in the closet. Forever wasn't the shadows sitting in the back of the class. Forever wasn't doing what I thought Carl and Rose wanted instead of what I needed to do with my life. Forever wasn't believing I was some kind of replacement daughter and that I was letting them down. Forever wasn't being the one who needed protection. Forever wasn't pain and grief forever wasn't a problem. Forever was my heartbeat and it was the hope tomorrow held. Forever was the glistening silver lining of the dark cloud, no matter how heavy and thick it was. Forever was knowing it moments of weakness didn't equate to an eternity of them. Forever was knowing that I was strong. Forever was Carl and Rosa, Ainsley and Kira, Hector and Rider. Jaden would always be a part of my forever. Forever was in the fire-breathing dragon inside me that had shed the fear like a snake shedding skin. Forever was simply a promise of more. Forever was a work in progress. And I couldn't wait for forever.

Remember you are water. Of course you leave salt trails. Of course you are crying. Flow. P.S. If there happens to be a multitude of griefs upon you, individual and collective, or fast and slow, or small and large, add equal parts of these considerations: that the broken heart can cover more territory. that perhaps love can only be as large as grief demands. that grief is the growing up of the heart that bursts boundaries like an old skin or a finished life. that grief is gratitude. that water seeks scale, that even your tears seek the recognition of community. that the heart is a front line and the fight is to feel in a world of distraction. that death might be the only freedom. that your grief is a worthwhile use of your time. that your body will feel only as much as it is able to. that the ones you grieve may be grieving you. that the sacred comes from the limitations. that you are excellent at loving.

She was given to me to put things right And I stacked all my accomplishments beside her Still I seemed so obselete and small I found God and all His devils inside her In my bed she cast the blizzard out A mock sun blazed upon her head So completely filled with light she was Her shadow fanged and hairy and mad Our love-lines grew hopelessly tangled And the bells from the chapel went jingle-jangle

The other part of me wanted to get out and stay out, but this was the part I never listened to. Because if I ever had I would have stayed in the town where I was born and worked in the hardware store and married the boss's daughter and had five kids and read them the funny paper on Sunday morning and smacked their heads when they got out of line and squabbled with the wife about how much spending money they were to get and what programs they could have on the radio or TV set. I might even get rich - small-town rich, an eight-room house, two cars in the garage, chicken every Sunday and the Reader's Digest on the living room table, the wife with a cast-iron permanent and me with a brain like a sack of Portland cement. You take it, friend. I'll take the big sordid dirty crooked city.

my final piece We’re born into the world As just one small piece to the puzzle That makes up an entire life. It’s up to us throughout our years, to find all of our pieces that fit. The pieces that connect who we are To who we were To who we’ll one day be. Sometimes pieces will almost fit. They’ll feel right. We’ll carry them around for a while, Hoping they’ll change shape. Hoping they’ll conform to our puzzle. But they won’t. We’ll eventually have to let them go. To find the puzzle that is their home. Sometimes pieces won’t fit at all. No matter how much we want them to. We’ll shove them. We’ll bend them. We’ll break them. But what isn’t meant to be, won’t be. Those are the hardest pieces of all to accept. The pieces of our puzzle That just don’t belong. But occasionally . . . Not very often at all, If we’re lucky, If we pay enough attention, We’ll find a perfect match. The pieces of the puzzle that slide right in The pieces that hug the contours of our own pieces. The pieces that lock to us. The pieces that we lock to. The pieces that fit so well, we can’t tell where our piece begins And that piece ends. Those pieces we call Friends. True loves. Dreams. Passions. Beliefs. Talents. They’re all the pieces that complete our puzzles. They line the edges, Frame the corners, Fill the centers, Those pieces are the pieces that make us who we are. Who we were. Who we’ll one day be. Up until today, When I looked at my own puzzle, I would see a finished piece. I had the edges lined, The corners framed, The center filled. It felt like it was complete. All the pieces were there. I had everything I wanted. Everything I needed. Everything I dreamt of. But up until today, I realized I had collected all but one piece. The most vital piece. The piece that completes the picture. The piece that completes my whole life. I held this girl in my arms She wrapped her tiny fingers around mine. It was then that I realized She was the fusion. The glue. The cement that bound all my pieces together. The piece that seals my puzzle. The piece that completes my life. The element that makes me who I am. Who I was. Who I’ll one day be. You, baby girl. You’re my final piece.

The people who visit the [Lincoln] memorial always look like an advertisement for democracy, so bizarrely, suspiciously diverse that one time I actually saw a man in a cowboy hat standing there reading the Gettysburg Address next to a Hasidic Jew. I wouldn’t have been surprised if they had linked arms with a woman in a burka and a Masai warrior, to belt out ‘It’s a Small World After All,’ flanked by a chorus line of nuns and field-tripping, rainbow-skinned schoolchildren

In the great cities we see so little of the world, we drift into our minority. In the little towns and villages there are no minorities; people are not numerous enough. You must see the world there, perforce. Every man is himself a class; every hour carries its new challenge. When you pass the inn at the end of the village you leave your favourite whimsy behind you; for you will meet no one who can share it. We listen to eloquent speaking, read books and write them, settle all the affairs of the universe. The dumb village multitudes pass on unchanging; the feel of the spade in the hand is no different for all our talk: good seasons and bad follow each other as of old. The dumb multitudes are no more concerned with us than is the old horse peering through the rusty gate of the village pound. The ancient map-makers wrote across unexplored regions, 'Here are lions.' Across the villages of fishermen and turners of the earth, so different are these from us, we can write but one line that is certain, 'Here are ghosts.' ("Village Ghosts")

Good people didn’t hate without a reason, so they grasped at any pretext, no matter how small, that gave them permission to hate. A line in a holy book. The color of a person’s skin. The brand of their magic. They were not in the habit of taking a second look or giving chances. Their fear was too great and their need to defend themselves too dire. They always lost at the end. Life was change. It would come to them, as inevitable as the sunrise, despite all their flailing.

(If you read this story out loud, please use the following voices: ME: as a child, high-pitched, forgettable; as a woman, the same. THE BOY WHO WILL GROW INTO A MAN, AND BE MY SPOUSE: robust with serendipity. MY FATHER: kind, booming; like your father, or the man you wish was your father. MY SON: as a small child, gentle, sounding with the faintest of lisps; as a man, like my husband. ALL OTHER WOMEN: interchangeable with my own.)

Every time I’m in an airport, I think I should drastically change my life: Kill the kid stuff, start to act my numbers, set fire to the clutter and creep below the radar like an escaped canine sneaking along the fence line. I’d be cable-knitted to the hilt, beautiful beyond buying, believe in the maker and fix my problems with prayer and property. Then, I think of you, home with the dog, the field full of purple pop-ups—we’re small and flawed, but I want to be who I am, going where I’m going, all over again.

Lines for Winter" Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself— inside the dome of dark or under the cracking white of the moon's gaze in a valley of snow. Tonight as it gets cold tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars. And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are.

Nina turned her face to the water, looking out at the narrow houses that lined the Geldcanal. Jesper saw that the residents had filled their windows with candles, as if these small gestures might somehow push back the dark. “I’m pretending those lights are for him,” she said. She plucked a stray red petal from Matthias’ chest, sighed, and released his hand, rising slowly. “I know it’s time.” Jesper put his arm around her. “He loved you so much, Nina. Loving you made him better.” “Did it make a difference in the end?” “Of course it did,” said Inej. “Matthias and I didn’t pray to the same god, but we knew there was something beyond this life. He went easier to the next world knowing he’d done good in this one.

When the woman you live with is an artist, every day is a surprise. Clare has turned the second bedroom into a wonder cabinet, full of small sculptures and drawings pinned up on every inch of wall space. There are coils of wire and rolls of paper tucked into shelves and drawers. The sculptures remind me of kites, or model airplanes. I say this to Clare one evening, standing in the doorway of her studio in my suit and tie, home from work, about to begin making dinner, and she throws one at me; it flies surprisingly well, and soon we are standing at opposite ends of the hall, tossing tiny sculptures at each other, testing their aerodynamics. The next day I come home to find that Clare has created a flock of paper and wire birds, which are hanging from the ceiling in the living room. A week later our bedroom windows are full of abstract blue translucent shapes that the sun throws across the room onto the walls, making a sky for the bird shapes Clare has painted there. It's beautiful. The next evening I'm standing in the doorway of Clare's studio, watching her finish drawing a thicket of black lines around a little red bird. Suddenly I see Clare, in her small room, closed in by all her stuff, and I realize that she's trying to say something, and I know what I have to do.

When I shoot, the ball bounces hard against the backboard, and flies wildly through the air, knocking the coach in the head. I slap a hand over my mouth. The coach barely catches herself from falling. Several students laugh. She glares at me and readjusts her cap. With a small wave of apology, I head back to the end of the line. Will's there fighting laughter. "Nice," he says. "Glad I'm downcourt of you." I cross my arms and resist smiling, resist letting myself feel good around him. But he makes it hard. I want to smile. I want to like him, to be around him, to know him. "Happy to amuse you.

If greed were not the master of modern man--ably assisted by envy--how could it be that the frenzy of economism does not abate as higher "standards of living" are attained, and that it is precisely the richest societies which pursue their economic advantage with the greatest ruthlessness? How could we explain the almost universal refusal on the part of the rulers of the rich societies--where organized along private enterprise or collective enterprise lines--to work towards the humanisation of work? It is only necessary to assert that something would reduce the "standard of living" and every debate is instantly closed. That soul-destroying, meaningless, mechanical, monotonous, moronic work is an insult to human nature which must necessarily and inevitably produce either escapism or aggression, and that no amount of of "bread and circuses" can compensate for the damage done--these are facts which are neither denied nor acknowledged but are met with an unbreakable conspiracy of silence--because to deny them would be too obviously absurd and to acknowledge them would condemn the central preoccupation of modern society as a crime against humanity.

I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads on the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with sex elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate-pudding day, getting into braces, say ninety-nine threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents...

As well, they used their B-52 bombers to drop thousands of tons of bombs which included napalm and cluster bombs. In a particularly vile attack, they used poisonous chemicals on our base regions of Xuyen Moc, the Minh Dam and the Nui Thi Vai mountains. They sprayed their defoliants over jungle, and productive farmland alike. They even bull-dozed bare, both sides along the communication routes and more than a kilometre into the jungle adjacent to our base areas. This caused the Ba Ria-Long Khanh Province Unit to send out a directive to D445 and D440 Battalions that as of 01/November/1969, the rations of both battalions would be set at 27 litres of rice per man per month when on operations. And 25 litres when in base or training. So it was that as the American forces withdrew, their arms and lavish base facilities were transferred across to the RVN. The the forces of the South Vietnamese Government were with thereby more resources but this also created any severe maintenance, logistic and training problems. The Australian Army felt that a complete Australian withdrawal was desirable with the departure of the Task Force (1ATF), but the conservative government of Australia thought that there were political advantages in keeping a small force in south Vietnam. Before his election, in 1964, Johnston used a line which promised peace, but also had a policy of war. The very same tactic was used by Nixon. Nixon had as early as 1950 called for direction intervention by American Forces which were to be on the side of the French colonialists. The defoliants were sprayed upon several millions of hectares, and it can best be described as virtual biocide. According to the figure from the Americans themselves, between the years of 1965 to 1973, ten million Vietnamese people were forced to leave their villages ad move to cities because of what the Americans and their allies had done. The Americans intensified the bombing of whole regions of Laos which were controlled by Lao patriotic forces. They used up to six hundred sorties per day with many types of aircraft including B52s. On 07/January/1979, the Vietnamese Army using Russian built T-54 and T-59 tanks, assisted by some Cambodian patriots liberated Phnom Penh while the Pol Pot Government and its agencies fled into the jungle. A new government under Hun Sen was installed and the Khmer Rouge’s navy was sunk nine days later in a battle with the Vietnamese Navy which resulted in twenty-two Kampuchean ships being sunk.

What would you have me do? Seek for the patronage of some great man, And like a creeping vine on a tall tree Crawl upward, where I cannot stand alone? No thank you! Dedicate, as others do, Poems to pawnbrokers? Be a buffoon In the vile hope of teasing out a smile On some cold face? No thank you! Eat a toad For breakfast every morning? Make my knees Callous, and cultivate a supple spine,- Wear out my belly grovelling in the dust? No thank you! Scratch the back of any swine That roots up gold for me? Tickle the horns Of Mammon with my left hand, while my right Too proud to know his partner's business, Takes in the fee? No thank you! Use the fire God gave me to burn incense all day long Under the nose of wood and stone? No thank you! Shall I go leaping into ladies' laps And licking fingers?-or-to change the form- Navigating with madrigals for oars, My sails full of the sighs of dowagers? No thank you! Publish verses at my own Expense? No thank you! Be the patron saint Of a small group of literary souls Who dine together every Tuesday? No I thank you! Shall I labor night and day To build a reputation on one song, And never write another? Shall I find True genius only among Geniuses, Palpitate over little paragraphs, And struggle to insinuate my name In the columns of the Mercury? No thank you! Calculate, scheme, be afraid, Love more to make a visit than a poem, Seek introductions, favors, influences?- No thank you! No, I thank you! And again I thank you!-But... To sing, to laugh, to dream To walk in my own way and be alone, Free, with a voice that means manhood-to cock my hat Where I choose-At a word, a Yes, a No, To fight-or write.To travel any road Under the sun, under the stars, nor doubt If fame or fortune lie beyond the bourne- Never to make a line I have not heard In my own heart; yet, with all modesty To say:"My soul, be satisfied with flowers, With fruit, with weeds even; but gather them In the one garden you may call your own." So, when I win some triumph, by some chance, Render no share to Caesar-in a word, I am too proud to be a parasite, And if my nature wants the germ that grows Towering to heaven like the mountain pine, Or like the oak, sheltering multitudes- I stand, not high it may be-but alone!

He got up and walked out to the road. The black shape of it running from dark to dark. Then the distant low rumble. Not thunder. You could feel it under your feet. A sound without cognate and so without description. Something imponderable shifting out there in the dark. The earth itself contracting with the cold. It did not come again. What time of year? What age the child? He walked out into the road and stood. The silence. The salitter drying from the earth. The mudstained shapes of flooded cities burned to the waterline. At a crossroads a ground set with dolmen stones where the spoken bones of oracles lay moldering. No sound but the wind. What will you say? A living man spoke these lines? He sharpened a quill with his small pen knife to scribe these things in sloe or lampblack? At some reckonable and entabled moment? He is coming to steal my eyes. To seal my mouth with dirt.

Steadily, the room shrank, till the book thief could touch the shelves within a few small steps. She ran the back of her hand along the first shelf, listening to the shuffle of her fingernails gliding across the spinal cord of each book. It sounded like an instrument, or the notes of running feet. She used both hands. She raced them. One shelf against the other. And she laughed. Her voice was sprawled out, high in her throat, and when she eventually stopped and stood in the middle of the room, she spent many minutes looking from the shelves to her fingers and back again. How many books had she touched? How many had she felt? She walked over and did it again, this time much slower, with her hand facing forward, allowing the dough of her palm to feel the small hurdle of each book. It felt like magic, like beauty, as bright lines of light shone down from a chandelier. Several times, she almost pulled a title from its place but didn't dare disturb them. They were too perfect.

Unoka went into an inner room and soon returned with a small wooden disc containing a kola nut, some alligator pepper and a lump of white chalk. "I have kola," he announced when he sat down, and passed the disc over to his guest. "Thank you. He who brings kola brings life. But I think you ought to break it," replied Okoye passing back the disc. "No, it is for you, I think," and they argued like this for a few moments before Unoka accepted the honor of breaking the kola. Okoye, meanwhile, took the lump of chalk, drew some lines on the floor, and then painted his big toe.

I recall one particular sunset. It lent an ember to my bicycle hell. Overhead, above the black music of telegraph wires, a number of long, dark-violet clouds lined with flamingo pink hung motionless in a fan-shaped arrangement; the whole thing was like some prodigious ovation in terms of color and form! It was dying, however, and everything else was darkening, too; but just above the horizon, in a lucid, turquoise space, beneath a black stratus, the eye found a vista that only a fool could mistake for the square parts of this or any other sunset. It occupied a very small sector of the enormous sky and had the peculiar neatness of something seen through the wrong end of a telescope. There it lay in wait, a brilliant convolutions, anachronistic in their creaminess and extremely remote; remote but perfect in every detail; fantastically reduced but faultlessly shaped; my marvelous tomorrow ready to be delivered to me.

I still carry you on the insides of me: cave paintings on rib-caging. If I were a peach, you would be the pit that holds me all together. When I met you, I was something small and whole; I do not know how to get back there. You have the warmest heart I have ever set up camp in. I still carry you on the insides of me: the contents of my suitcase heart. I will lug you around until it breaks my back and then some. I feel sometimes like I have scattered my pieces everywhere, but you are the piece I do not know how to leave at the foot of a stranger’s bed or between the lines of a free-verse poem. I want you to know that loving you is freeing; that loving you is like holding my head under water and coming up new again and again. I still carry you on the insides of me. This will not always make sense to you

Every room I've lived in since I was given my own room at eleven was lined with, and usually overfull of, books. My employment in bookstores was always continuous with my private hours: shelving and alphabetizing, building shelves, and browsing-- in my collection and others-- in order to understand a small amount about the widest possible number of books. Such numbers of books are constantly acquired that constant culling is necessary; if I slouch in this discipline, the books erupt. I've also bricked myself in with music--vinyl records, then compact discs. My homes have been improbably information-dense, like capsules for survival of a nuclear war, or models of the interior of my own skull. That comparison--room as brain-- is one I've often reached for in describing the rooms of others, but it began with the suspicion that I'd externalized my own brain, for anyone who cared to look.

The supermarket shelves have been rearranged. It happened one day without warning. There is agitation and panic in the aisles, dismay in the faces of older shoppers.[…]They scrutinize the small print on packages, wary of a second level of betrayal. The men scan for stamped dates, the women for ingredients. Many have trouble making out the words. Smeared print, ghost images. In the altered shelves, the ambient roar, in the plain and heartless fact of their decline, they try to work their way through confusion. But in the end it doesn’t matter what they see or think they see. The terminals are equipped with holographic scanners, which decode the binary secret of every item, infallibly. This is the language of waves and radiation, or how the dead speak to the living. And this is where we wait together, regardless of our age, our carts stocked with brightly colored goods. A slowly moving line, satisfying, giving us time to glance at the tabloids in the racks. Everything we need that is not food or love is here in the tabloid racks. The tales of the supernatural and the extraterrestrial. The miracle vitamins, the cures for cancer, the remedies for obesity. The cults of the famous and the dead.

What if, ladies and gentlemen, today I told you that anyone here who was born on a Monday, Tuesday, or Wednesday was free to leave right now? Also, they'd be given the most central parking spots in the city, and the biggest houses. They would get job interviews before others who were born later in the week, and they'd be taken first at the doctor's office, no matter how many patients were waiting in line. If you were born from Thursday to Sunday, you might try to catch up – but because you were straggling behind, the press would always point to how inefficient you are. And if you complained, you'd be dismissed for playing the birth-day card.” I shrug. “Seems silly, right? But what if on top of these arbitrary systems that inhibited your chances for success, everyone kept telling you that things were actually pretty equal?

It was granted me to carry away from my prison years on my bent back, which nearly broke beneath its load, this essential experience; how a human being becomes evil and how good. In the intoxication of youthful successes I had felt myself to be infallible, and I was therefore cruel. In the surfeit of power I was a murderer, and an oppressor. In my most evil moments I was convinced that I was doing good, and I was well supplied with systematic arguments. And it was only when I lay there on rotting prison straw that I sensed within myself the first stirrings of good. Gradually it was disclosed to me that the line separating good and evil passes not through states, nor between classes, nor between political parties either—but right through every human heart—and through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained. And even in the best of all hearts, there remains… an unuprooted small corner of evil.

No one has to know until we adopt in a few years. I’m sure there are loads of damn babies waiting for parents to buy them. We will be fine.” I know she hasn’t accepted my offer of marriage, or even being in a relationship with me, but I hope she doesn’t use this opportunity to remind me of that. She laughs softly. “Damn babies? Please tell me you don’t think there is a store somewhere downtown where you walk in and purchase a baby?” She lifts her hand to her mouth to stop herself from laughing at me. “There isn’t?” I joke. “What’s Babies ‘R’ Us, then?” “Oh my goodness!” She tilts her head back in laughter. I reach across the small space between us and grab hold of her hand. “If that damn store isn’t full of babies, lined up, ready for purchase, than I’m suing for false advertisement.

We are wolves, which are wild dogs, and this is our place in the city. We are small and our house is small on our small urban street. We can see the city and the train line and it's beautiful in its own dangerous way. Dangerous because it's shared and taken and fought for. That's the best way I can put it, and thinking about it, when I walk past the tiny houses on our street, I wonder about the stories inside them. I wonder hard, because houses must have walls and rooftops for a reason. My only query is the windows. Why do they have windows? Is it to let a glimpse of the world in? Or for us to see out?

I was obviously born to draw better than most people, just as the widow Berman and Paul Slazinger were obviously born to tell stories better than most people can. Other people are obviously born to sing and dance or explain the stars in the sky or do magic tricks or be great leaders or athletes, and so on. I think that could go back to the time when people had to live in small groups of relatives -- maybe fifty or a hundred people at the most. And evolution or God or whatever arranged things genetically to keep the little families going, to cheer them up, so that they could all have somebody to tell stories around the campfire at night, and somebody else to paint pictures on the walls of the caves, and somebody else who wasn't afraid of anything and so on. That's what I think. And of course a scheme like that doesn't make sense anymore, because simply moderate giftedness has been made worthless by the printing press and radio and television and satellites and all that. A moderately gifted person who would have been a community treasure a thousand years ago has to give up, has to go into some other line of work, since modern communications put him or her into daily competition with nothing but the world's champions. The entire planet can get along nicely now with maybe a dozen champion performers in each area of human giftedness. A moderately gifted person has to keep his or her gifts all bottled up until, in a manner of speaking, he or she gets drunk at a wedding and tapdances on the coffee table like Fred Astair or Ginger Rogers. We have a name for him or her. We call him or her an 'exhibitionist.' How do we reward such an exhibitionist? We say to him or her the next morning, 'Wow! Were you ever _drunk_ last night!

I laughed when she said “utilize” and she said “what?” and I said “just utilize, it’s a meaningless word” and then she tried to tell me that it “communicated” something different from the word “use” and the way she looked at me, chuckling, glancing over at James like “oh, how sweet, it tried to talk,” made me so mad that I might have said, maybe, something along the lines of “yeah, it communicates something, it’s a real first-gen-college-grad kind of word, like your parents are small-town conservative Christians who didn’t have any books in the house, and you’re self-conscious about your upbringing so you want to stand out by using elitist intellectual language, but you don’t actually know any long words, so you just truss up the word ‘use’ for no fucking reason other than to try to make people feel like you’re the one with the big mental dick, even though ‘utilize’ is basically just administrative jargon and completely déclassé to them that knows.

I began by saying that our history will be what we make it. If we go on as we are, then history will take its revenge, and retribution will not limp in catching up with us. We are to a large extent an imitative society. If one or two or three corporations would undertake to devote just a small fraction of their advertising appropriation along the lines that I have suggested, the procedure would grow by contagion; the economic burden would be bearable, and there might ensue a most exciting adventure--exposure to ideas and the bringing of reality into the homes of the nation. To those who say people wouldn't look; they wouldn't be interested; they're too complacent, indifferent and insulated, I can only reply: There is, in one reporter's opinion, considerable evidence against that contention. But even if they are right, what have they got to lose? Because if they are right, and this instrument is good for nothing but to entertain, amuse and insulate, then the tube is flickering now and we will soon see that the whole struggle is lost. This instrument can teach, it can illuminate; yes, and it can even inspire. But it can do so only to the extent that humans are determined to use it to those ends. Otherwise it is merely wires and lights in a box. There is a great and perhaps decisive battle to be fought against ignorance, intolerance and indifference.

Then she understood that what she needed was the motion to a purpose, no matter how small or in what form, the sense of an activity going step by step to some chosen end across a span of time. The work of cooking a meal was like a closed circle, completed and gone, leading nowhere. But the work of building a path was a living sum, so that no day was left to die behind her, but each day contained all those that preceded it, each day acquired its immortality on every succeeding tomorrow. A circle, she thought, is the movement proper to physical nature, they say that there's nothing but circular motion in the inanimate universe around us, but the straight line is the badge of man, the straight line of a geometrical abstraction that makes roads, rails and bridges, the straight line that cuts the curving aimlessness of nature by a purposeful motion from a start to an end. The cooking of meals, she thought, is like the feeding of coal to an engine for the sake of a great run, but what would be the imbecile torture of coaling an engine that had no run to make? It is not proper for man's life to be a circle, she thought, or a string of circles dropping off like zeros behind him--man's life must be a straight line of motion from goal to farther goal, each leading to the next and to a single growing sum, like a journey down the track of a railroad, from station to station to--oh, stop it!

I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room. Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.

Glanced up and caught Ammu's gaze. Centuries telescoped into one evanescent moment. History was wrong-footed, caught off guard. Sloughed off like an old snakeskin. Its marks , its scars its wouns from old wars and the walking backwards days all fell away. In its abscence it left an aura, a palpable shimmering that was as plain as water in a river or the sun in the sky. As plain to feel the heat on a hot day, or the tug of a fish on a taut line. So obvious that no-one noticed. In that brief moment, Velutha looked up and saw things that he hadn't seen before. Things that had been out of bounds so far, obscured by histor's blinkers. ...This knowing slid into him cleanly, like the sharp edge of a knife. Cold and hot at once. It only took a moment. Ammu saw that he saw. She looked away. He did too. History's fiends returned to claim them. To rewrap them in its old scarred pelt and drag them back to where they really lived. Where the Love Laws lay down who should be loved. And how. And how much.

Eddie saw great things and near misses. Albert Einstein as a child, not quite struck by a run-away milk-wagon as he crossed a street. A teenage boy named Albert Schweitzer getting out of a bathtub and not quite stepping on the cake of soap lying beside the pulled plug. A Nazi Oberleutnant burning a piece of paper with the date and place of the D-Day Invasion written on it. He saw a man who intended to poison the entire water supply of Denver die of a heart attack in a roadside rest-stop on I-80 in Iowa with a bag of McDonald’s French fries on his lap. He saw a terrorist wired up with explosives suddenly turn away from a crowded restaurant in a city that might have been Jerusalem. The terrorist had been transfixed by nothing more than the sky, and the thought that it arced above the just and unjust alike. He saw four men rescue a little boy from a monster whose entire head seemed to consist of a single eye. But more important than any of these was the vast, accretive weight of small things, from planes which hadn’t crashed to men and women who had come to the correct place at the perfect time and thus founded generations. He saw kisses exchanged in doorways and wallets returned and men who had come to a splitting of the way and chosen the right fork. He saw a thousand random meetings that weren’t random, ten thousand right decisions, a hundred thousand right answers, a million acts of unacknowledged kindness. He saw the old people of River Crossing and Roland kneeling in the dust for Aunt Talitha’s blessing; again heard her giving it freely and gladly. Heard her telling him to lay the cross she had given him at the foot of the Dark Tower and speak the name of Talitha Unwin at the far end of the earth. He saw the Tower itself in the burning folds of the rose and for a moment understood its purpose: how it distributed its lines of force to all the worlds that were and held them steady in time’s great helix. For every brick that landed on the ground instead of some little kid’s head, for every tornado that missed the trailer park, for every missile that didn’t fly, for every hand stayed from violence, there was the Tower. And the quiet, singing voice of the rose. The song that promised all might be well, all might be well, that all manner of things might be well.

Japan Today I pass the time reading a favorite haiku, saying the few words over and over. It feels like eating the same small, perfect grape again and again. I walk through the house reciting it and leave its letters falling through the air of every room. I stand by the big silence of the piano and say it. I say it in front of a painting of the sea. I tap out its rhythm on an empty shelf. I listen to myself saying it, then I say it without listening, then I hear it without saying it. And when the dog looks up at me, I kneel down on the floor and whisper it into each of his long white ears. It’s the one about the one-ton temple bell with the moth sleeping on its surface, and every time I say it, I feel the excruciating pressure of the moth on the surface of the iron bell. When I say it at the window, the bell is the world and I am the moth resting there. When I say it into the mirror, I am the heavy bell and the moth is life with its papery wings. And later, when I say it to you in the dark, you are the bell, and I am the tongue of the bell, ringing you, and the moth has flown from its line and moves like a hinge in the air above our bed.

Does rough weather choose men over women? Does the sun beat on men, leaving women nice and cool?' Nyawira asked rather sharply. 'Women bear the brunt of poverty. What choices does a woman have in life, especially in times of misery? She can marry or live with a man. She can bear children and bring them up, and be abused by her man. Have you read Buchi Emecheta of Nigeria, Joys of Motherhood? Tsitsi Dangarembga of Zimbabwe, say, Nervous Conditions? Miriama Ba of Senegal, So Long A Letter? Three women from different parts of Africa, giving words to similar thoughts about the condition of women in Africa.' 'I am not much of a reader of fiction,' Kamiti said. 'Especially novels by African women. In India such books are hard to find.' 'Surely even in India there are women writers? Indian women writers?' Nyawira pressed. 'Arundhati Roy, for instance, The God of Small Things? Meena Alexander, Fault Lines? Susie Tharu. Read Women Writing in India. Or her other book, We Were Making History, about women in the struggle!' 'I have sampled the epics of Indian literature,' Kamiti said, trying to redeem himself. 'Mahabharata, Ramayana, and mostly Bhagavad Gita. There are a few others, what they call Purana, Rig-Veda, Upanishads … Not that I read everything, but …' 'I am sure that those epics and Puranas, even the Gita, were all written by men,' Nyawira said. 'The same men who invented the caste system. When will you learn to listen to the voices of women?

If there was magic in this world, it happened within sight of the three bases and home plate. All the gems in my world that decorated the walls and floors of dragons' lairs, the sword hilts of privileged princes, and crowns worn by emperors and kings, were nothing compared to the beauty and splendor of the diamond in Wrigley Stadium. It wasn't just a yard with dirt, chalk lines, bases, and a small hill in its center. Wrigley was a field of dreams. Dreams of eternal glory for the men who ran to the outfield, who took their respective bases, and prepared for battle against those who would dare enter their hallowed realm. Dreams for the kids in the stands, all wanting to don a uniform, kiss their moms goodbye, and wield their bats as enchanted weapons destined to knock the cover off the ball. And for the adults who had already selected their lot in life, Wrigley made the dreams of past innocence, lost wonder, and the promise that there was something inherently good still left in the world, come true. Yeah, corny as hell. But all true.

In this he was like most Midwesterners. Directions are very important to them. They have an innate need to be oriented, even in their anecdotes. Any story related by a Midwesterner will wander off at some point into a thicket of interior monologue along the lines of "We were staying at a hotel that was eight blocks northeast of the state capital building. Come to think of it, it was northwest. And I think it was probably more like nine blocks. And this woman without any clothes on, naked as the day she was born except for a coonskin cap, came running at us from the southwest... or was it the southeast?" If there are two Midwesterns present and they both witnessed the incident, you can just about write off the anecdote because they will spend the rest of the afternoon arguing points of the compass and will never get back to the original story. You can always tell a Midwestern couple in Europe because they will be standing on a traffic island in the middle of a busy intersection looking at a windblown map and arguing over which way is west. European cities, with their wandering streets and undisciplined alleys, drive Midwesterners practically insane.

Between the roof of the shed and the big plant that hangs over the fence from the house next door I could see the constellation Orion. People say that Orion is called Orion because Orion was a hunter and the constellation looks like a hunter with a club and a bow and arrow, like this: But this is really silly because it is just stars, and you could join up the dots in any way you wanted, and you could make it look like a lady with an umbrella who is waving, or the coffeemaker which Mrs. Shears has, which is from Italy, with a handle and steam coming out, or like a dinosaur. And there aren't any lines in space, so you could join bits of Orion to bits of Lepus or Taurus or Gemini and say that they were a constellation called the Bunch of Grapes or Jesus or the Bicycle (except that they didn't have bicycles in Roman and Greek times, which was when they called Orion Orion). And anyway, Orion is not a hunter or a coffeemaker or a dinosaur. It is just Betelgeuse and Bellatrix and Alnilam and Rigel and 17 other stars I don't know the names of. And they are nuclear explosions billions of miles away. And that is the truth. I stayed awake until 5:47. That was the last time I looked at my watch before I fell asleep. It has a luminous face and lights up if you press a button, so I could read it in the dark. I was cold and I was frightened Father might come out and find me. But I felt safer in the garden because I was hidden. I looked at the sky a lot. I like looking up at the sky in the garden at night. In summer I sometimes come outside at night with my torch and my planisphere, which is two circles of plastic with a pin through the middle. And on the bottom is a map of the sky and on top is an aperture which is an opening shaped in a parabola and you turn it round to see a map of the sky that you can see on that day of the year from the latitude 51.5° north, which is the latitude that Swindon is on, because the largest bit of the sky is always on the other side of the earth. And when you look at the sky you know you are looking at stars which are hundreds and thousands of light-years away from you. And some of the stars don't even exist anymore because their light has taken so long to get to us that they are already dead, or they have exploded and collapsed into red dwarfs. And that makes you seem very small, and if you have difficult things in your life it is nice to think that they are what is called negligible, which means that they are so small you don't have to take them into account when you are calculating something. I didn't sleep very well because of the cold and because the ground was very bumpy and pointy underneath me and because Toby was scratching in his cage a lot. But when I woke up properly it was dawn and the sky was all orange and blue and purple and I could hear birds singing, which is called the Dawn Chorus. And I stayed where I was for another 2 hours and 32 minutes, and then I heard Father come into the garden and call out, "Christopher...? Christopher...?

Commala-come-come There’s a young man with a gun. Young man lost his honey When she took it on the run. Commala-come-one! She took it on the run! Left her baby lonely But he baby ain’t done. Commala-come-coo The wind’ll blow ya through. Ya gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-two! Nothin else to do! Gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-key Can you tell me what ya see? Is it ghosts or just the mirror That makes ya wanna flee? Commala-come-three! I beg ya, tell me! Is it ghosts or just your darker self That makes ya wanna flee? Commala-come-ko Whatcha doin at my do’? If ya doan tell me now, my friend I’ll lay ya on de flo’. Commala-come-fo’! I can lay ya low! The things I’ve do to such as you You never wanna know. Commala-gin-jive Ain’t it grand to be alive? To look out on Discordia When the Demon Moon arrives. Commala-come-five! Even when the shadows rise! To see the world and walk the world Makes ya glad to be alive. Commala-mox-nix! You’re in a nasty fix! To take a hand in traitor’s glove Is to grasp a sheaf of sticks! Commala-come-six! Nothing there but thorns and sticks! When your find your hand in traitor’s glove You’re in a nasty fix. Commala-loaf-leaven! They go to hell or up to heaven! The the guns are shot and the fires hot, You got to poke em in the oven. Commala-come-seven! Salt and yow’ for leaven! Heat em up and knock em down And poke em in the oven. Commala-ka-kate You’re in the hands of fate. No matter if it’s real or not, The hour groweth late. Commala-come-eight! The hour groweth late! No matter what shade ya cast You’re in the hands of fate. Commala-me-mine You have to walk the line. When you finally get the thing you need It makes you feel so fine. Commala-come-nine! It makes ya feel fine! But if you’d have the thing you need You have to walk the line. Commala-come-ken It’s the other one again. You may know her name and face But that don’t make her your friend. Commala-come-ten! She is not your friend! If you let her get too close She’ll cut you up again! Commala-come-call We hail the one who made us all, Who made the men and made the maids, Who made the great and small. Commala-come-call! He made us great and small! And yet how great the hand of fate That rules us one and all. Commala-come-ki, There’s a time to live and one to die. With your back against the final wall Ya gotta let the bullets fly. Commala-come-ki! Let the bullets fly! Don’t ‘ee mourn for me, my lads When it comes my day to die. Commala-come-kass! The child has come at last! Sing your song, O sing it well, The child has come to pass. Commala-come-kass, The worst has come to pass. The Tower trembles on its ground; The child has come at last. Commala-come-come, The battle’s now begun! And all the foes of men and rose Rise with the setting sun.

It was that summer, too, that I began the cutting, and was almost as devoted to it as to my newfound loveliness. I adored tending to myself, wiping a shallow red pool of my blood away with a damp washcloth to magically reveal, just above my naval: queasy. Applying alcohol with dabs of a cotton ball, wispy shreds sticking to the bloody lines of: perky. I had a dirty streak my senior year, which I later rectified. A few quick cuts and cunt becomes can't, cock turns into back, clit transforms to a very unlikely cat, the l and i turned into a teetering capital A. The last words I ever carved into myself, sixteen years after I started: vanish. Sometimes I can hear the words squabbling at each other across my body. Up on my shoulder, panty calling down to cherry on the inside of my right ankle. On the underside of a big toe, sew uttering muffled threats to baby, just under my left breast. I can quiet them down by thinking of vanish, always hushed and regal, lording over the other words from the safety of the nape of my neck. Also: At the center of my back, which was too difficult to reach, is a circle of perfect skin the size of a fist. Over the years I've made my own private jokes. You can really read me. Do you want me to spell it out for you? I've certainly given myself a life sentence. Funny, right? I can't stand to look myself without being completely covered. Someday I may visit a surgeon, see what can be done to smooth me, but now I couldn't bear the reaction. Instead I drink so I don't think too much about what I've done to my body and so I don't do any more. Yet most of the time that I'm awake, I want to cut. Not small words either. Equivocate. Inarticulate. Duplicitous. At my hospital back in Illinois they would not approve of this craving. For those who need a name, there's a gift basket of medical terms. All I know is that the cutting made me feel safe. It was proof. Thoughts and words, captured where I could see them and track them. The truth, stinging, on my skin, in a freakish shorthand. Tell me you're going to the doctor, and I'll want to cut worrisome on my arm. Say you've fallen in love and I buzz the outlines of tragic over my breast. I hadn't necessarily wanted to be cured. But I was out of places to write, slicing myself between my toes - bad, cry - like a junkie looking for one last vein. Vanish did it for me. I'd saved the neck, such a nice prime spot, for one final good cutting. Then I turned myself in.

Does God exist? Unlike many people, this had not been the great inner debate of her life. Under the old Communist regime, the official line in schools had been that life ended with death, and she had gotten used to the idea. On the other hand, her parents’ generation and her grandparents’ generation still went to church, said prayers, and went on pilgrimages, and were utterly convinced that God listened to what they said. At twenty-four, having experienced everything she could experience—and that was no small achievement—Veronika was almost certain that everything ended with death. That is why she had chosen suicide: freedom at last. Eternal oblivion. In her heart of hearts, though, there was still a doubt: What if God did exist? Thousands of years of civilization had made of suicide a taboo, an affront to all religious codes: Man struggles to survive, not to succumb. The human race must procreate. Society needs workers. A couple has to have a reason to stay together, even when love has ceased to exist, and a country needs soldiers, politicians and artists. If God exists, and I truly don’t believe he does, he will know that there are limits to human understanding. He was the one who created this confusion in which there is poverty, injustice, greed, and loneliness. He doubtless had the best of intentions, but the results have proved disastrous; if God exists, he will be generous with those creatures who chose to leave this Earth early, and he might even apologize for having made us spend time here. To hell with taboos and superstitions. Her devout mother would say: “God knows the past, the present, and the future.” In that case, he had placed her in this world in the full knowledge that she would end up killing herself, and he would not be shocked by her actions. Veronika began to feel a slight nausea, which became rapidly more intense.

Thanks for putting me in bed last night,” I said, watching the swift line of his throat as he yawned again. He grumbled, “Uh–huh,” as he rolled his shoulders before slipping his arms beneath the covers again. “And for giving me a massage.” I had already tried moving my legs, and sure they were sore, but I knew how much worse they could be. I’d done everything I was supposed to do to help prevent the stiffness, but there was only so much a body that wasn’t 100 percent to begin with could handle. “There wasn’t much to massage.” Uh. “What’s the supposed to mean?” “I have more muscles in my glutes than you have in your thighs.” Anyone who had seen Aiden’s ass would know that was a fact, so I wasn’t going to take it personally. Maybe because I was still so sleepy, I raised my eyebrows at him and said, “Have you seen your butt? That’s not an insult. It has more muscles in it than most people have all over their bodies.” His own thick eyebrows rose about a millimeter, just slightly but enough for me to notice. “I didn’t know you paid that much attention to it.” “Why do you think you have so many female fans?” Aiden let out another low groan, but he didn’t tell me to stop. “You could raise a small fortune if you ever auctioned off the chance for a person to take a—” “Vanessa!” Mr. Proper reached over to throw a hand over my mouth, like he was shocked. That big hand literally covered me from ear to ear, and I burst out laughing though it was muffled. “You make me feel cheap,” he said as he slowly pulled his hand away, but the shine in his eyes said he didn’t really mind it that much. I stretched my own limbs with a yawn. “I’m just telling you what anyone else would.” “No, no one else would ever say that to me.” So he had a point. “Well, I’ll tell you the truth then.” He made this noise that had me rolling to face him again. “You always have

On this material plane, each living being is like a street lantern lamp with a dirty lampshade. The inside flame burns evenly and is of the same quality as all the rest—hence all of us are equal in the absolute sense, the essence, in the quality of our energy. However, some of the lamps are “turned down” and having less light in them, burn fainter, (the beings have a less defined individuality, are less in tune with the universal All which is the same as the Will)—hence all of us are unequal in a relative sense, some of us being more aware (human beings), and others being less aware (animal beings), with small wills and small flames. The lampshades of all are stained with the clutter of the material reality or the physical world. As a result, it is difficult for the light of each lamp to shine through to the outside and it is also difficult to see what is on the other side of the lampshade that represents the external world (a great thick muddy ocean of fog), and hence to “feel” a connection with the other lantern lamps (other beings). The lampshade is the physical body immersed in the ocean of the material world, and the limiting host of senses that it comes with. The dirt of the lampshade results from the cluttering bulk of life experience accumulated without a specific goal or purpose. The dirtier the lampshade, the less connection each soul has to the rest of the universe—and this includes its sense of connection to other beings, its sense of dual presence in the material world and the metaphysical world, and the thin connection line to the wick of fuel or the flow of electricity that resides beyond the material plane and is the universal energy. To remain “lit” each lantern lamp must tap into the universal Source of energy. If the link is weak, depression and-or illness sets in. If the link is strong, life persists. This metaphor to me best illustrates the universe.

Consider the genesis of a single-celled embryo produced by the fertilization of an egg by a sperm. The genetic material of this embryo comes from two sources: paternal genes (from sperm) and maternal genes (from eggs). But the cellular material of the embryo comes exclusively from the egg; the sperm is no more than a glorified delivery vehicle for male DNA—a genome equipped with a hyperactive tail. Aside from proteins, ribosomes, nutrients, and membranes, the egg also supplies the embryo with specialized structures called mitochondria. These mitochondria are the energy-producing factories of the cell; they are so anatomically discrete and so specialized in their function that cell biologists call them “organelles”—i.e., mini-organs resident within cells. Mitochondria, recall, carry a small, independent genome that resides within the mitochondrion itself—not in the cell’s nucleus, where the twenty-three pairs of chromosomes (and the 21,000-odd human genes) can be found. The exclusively female origin of all the mitochondria in an embryo has an important consequence. All humans—male or female—must have inherited their mitochondria from their mothers, who inherited their mitochondria from their mothers, and so forth, in an unbroken line of female ancestry stretching indefinitely into the past. (A woman also carries the mitochondrial genomes of all her future descendants in her cells; ironically, if there is such a thing as a “homunculus,” then it is exclusively female in origin—technically, a “femunculus”?) Now imagine an ancient tribe of two hundred women, each of whom bears one child. If the child happens to be a daughter, the woman dutifully passes her mitochondria to the next generation, and, through her daughter’s daughter, to a third generation. But if she has only a son and no daughter, the woman’s mitochondrial lineage wanders into a genetic blind alley and becomes extinct (since sperm do not pass their mitochondria to the embryo, sons cannot pass their mitochondrial genomes to their children). Over the course of the tribe’s evolution, tens of thousands of such mitochondrial lineages will land on lineal dead ends by chance, and be snuffed out. And here is the crux: if the founding population of a species is small enough, and if enough time has passed, the number of surviving maternal lineages will keep shrinking, and shrinking further, until only a few are left. If half of the two hundred women in our tribe have sons, and only sons, then one hundred mitochondrial lineages will dash against the glass pane of male-only heredity and vanish in the next generation. Another half will dead-end into male children in the second generation, and so forth. By the end of several generations, all the descendants of the tribe, male or female, might track their mitochondrial ancestry to just a few women. For modern humans, that number has reached one: each of us can trace our mitochondrial lineage to a single human female who existed in Africa about two hundred thousand years ago. She is the common mother of our species. We do not know what she looked like, although her closest modern-day relatives are women of the San tribe from Botswana or Namibia. I find the idea of such a founding mother endlessly mesmerizing. In human genetics, she is known by a beautiful name—Mitochondrial Eve.