Solitary Play Quotes

For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow. Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life. A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail. A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live. When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. Let God speak within you, and your thoughts will grow silent. You are anxious because your path leads away from mother and home. But every step and every day lead you back again to the mother. Home is neither here nor there. Home is within you, or home is nowhere at all. A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one's suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother. So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.

Books have always been my escape - where I go to bury my nose, hone my senses, or play the emotional tourist in a world of my own choosing... Words are my best expressive tool, my favorite shield, my point of entry...When I was growing up, books took me away from my life to a solitary place that didn't feel lonely. They celebrated the outcasts, people who sat on the margins of society contemplating their interiors. . . Books were my cure for a romanticized unhappiness, for the anxiety of impending adulthood. They were all mine, private islands with secret passwords only the worthy could utter. If I could choose my favorite day, my favorite moment in some perfect dreamscape, I know exactly where I would be: stretched out in bed in the afternoon, knowing that the kids are taking a nap and I've got two more chapters left of some heartbreaking novel, the kind that messes you up for a week.

Love has a way of cheating itself consciously, like a child who plays at solitary hide-and-seek; it is pleased with assurances that it all the while disbelieves.

The solitary individual can structure time in two ways: activity and fantasy.

Only boxers can understand the loneliness of tennis players - and yet boxers have their corner men and managers. Even a boxer's opponent provides a kind of companionship, someone he can grapple with and grunt at. In tennis you stand face-to-face with the enemy, trade blows with him, but never touch him or talk to him, or anyone else. The rules forbid a tennis player from even talking to his coach while on the court. People sometimes mention the track-and-field runner as a comparably lonely figure, but I have to laugh. At least the runner can feel and smell his opponents. They're inches away. In tennis you're on an island. Of all the games men and women play, tennis is the closest to solitary confinement....

Have you ever played chess, Kitty?” I eyed her. What did a board game have to do with this? “Not really.” “You and I should play sometime. I think you would like it,” she said. “It’s a game of strategy, mostly. The strong pieces are in the back row, while the weak pieces—the pawns—are all in the front, ready to take the brunt of the attack. Because of their limited movement and vulnerability, most people underestimate them and only use them to protect the more powerful pieces. But when I play, I protect my pawns.” “Why?” I said, not entirely sure where this conversation was going. “If they’re weak, then what’s the point?” “They may be weak when the game begins, but their potential is remarkable. Most of the time, they’ll be taken by the other side and held captive until the end of the game. But if you’re careful—if you keep your eyes open and pay attention to what your opponent is doing, if you protect your pawns and they reach the other side of the board, do you know what happens then?” I shook my head, and she smiled. “Your pawn becomes a queen.” She touched my cheek, her fingers cold as ice. “Because they kept moving forward and triumphed against impossible odds, they become the most powerful piece in the game. Never forget that, all right? Never forget the potential one solitary pawn has to change the entire game.

At a certain level of suffering or injustice no one can do anything for anyone. Pain is solitary.

In the morning they came up out of the ravine and took to the road again. He'd carved the boy a flute from a piece of roadside cane and he took it from his coat and gave it to him. The boy took it wordlessly. After a while he fell back and after a while the man could hear him playing. A formless music for the age to come. Or perhaps the last music on earth called up from out of the ashes of its ruin. The man turned and looked back at him. He was lost in concentration. The man thought he seemed some sad and solitary changeling child announcing the arrival of a traveling spectacle in shire and village who does not know that behind him the players have all been carried off by wolves.

was it scripted by God or I am playing with my life.

I spoke to the Old Man a couple of times, but I’m sure He didn’t hear a word I said. He had quit listening to man a million years ago. Now all He does is play chess by Himself or sit around playing solitary with old cards.

The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way--a vision gleaned from the way we had heard the word 'beat' spoken on streetcorners on Times Square and in the Village, in other cities in the downtown city night of postwar America--beat, meaning down and out but full of intense conviction--We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer--It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization--the subterraneans heroes who'd finally turned from the 'freedom' machine of the West and were taking drugs, digging bop, having flashes of insight, experiencing the 'derangement of the senses,' talking strange, being poor and glad, prophesying a new style for American culture, a new style (we thought), a new incantation--The same thing was almost going on in the postwar France of Sartre and Genet and what's more we knew about it--But as to the actual existence of a Beat Generation, chances are it was really just an idea in our minds--We'd stay up 24 hours drinking cup after cup of black coffee, playing record after record of Wardell Gray, Lester Young, Dexter Gordon, Willie Jackson, Lennie Tristano and all the rest, talking madly about that holy new feeling out there in the streets- -We'd write stories about some strange beatific Negro hepcat saint with goatee hitchhiking across Iowa with taped up horn bringing the secret message of blowing to other coasts, other cities, like a veritable Walter the Penniless leading an invisible First Crusade- -We had our mystic heroes and wrote, nay sung novels about them, erected long poems celebrating the new 'angels' of the American underground--In actuality there was only a handful of real hip swinging cats and what there was vanished mightily swiftly during the Korean War when (and after) a sinister new kind of efficiency appeared in America, maybe it was the result of the universalization of Television and nothing else (the Polite Total Police Control of Dragnet's 'peace' officers) but the beat characters after 1950 vanished into jails and madhouses, or were shamed into silent conformity, the generation itself was shortlived and small in number.

,,,I decided to play the hero. See how it felt. To try.' 'And?' she asks. 'I didn't like it,' he admits. 'Henceforth, I think we should consider our roles as monarchs to be largely decorative. It would be better for the low Courts and the solitary Folk to work things out on their own.' 'I think you have iron poisoning,' she tells him, which could possibly be true but is still a hurtful thing to say when he is making perfect sense.

What is serious to men is often very trivial in the sight of God. What in God might appear to us as "play" is perhaps what he Himself takes most seriously. At any rate, the Lord plays and diverts Himself in the garden of His creation, and if we could let go of our own obsession with what we think is the meaning of it all, we might be able to hear His call and follow Him in His mysterious, cosmic dance. We do not have to go very far to catch echoes of that game, and of that dancing. When we are alone on a starlit night; when by chance we see the migrating birds in autumn descending on a grove of junipers to rest and eat; when we see children in a moment when they are really children; when we know love in our own hearts; or when, like the Japanese poet Bashō we hear an old frog land in a quiet pond with a solitary splash--at such times the awakening, the turning inside out of all values, the "newness," the emptiness and the purity of vision that make themselves evident, provide a glimpse of the cosmic dance. For the world and time are the dance of the Lord in emptiness. The silence of the spheres is the music of a wedding feast. The more we persist in misunderstanding the phenomena of life, the more we analyze them out into strange finalities and complex purposes of our own, the more we involve ourselves in sadness, absurdity and despair. But it does not matter much, because no despair of ours can alter the reality of things; or stain the joy of the cosmic dance which is always there. Indeed, we are in the midst of it, and it is in the midst of us, for it beats in our very blood, whether we want it to or not. Yet the fact remains that we are invited to forget ourselves on purpose, cast our awful solemnity to the winds and join in the general dance.

There are two Paths to the Innermost: the Way of the Mystic, which is the way of devotion and meditation, a solitary and subjective path; and the way of the occultist, which is the way of the intellect, of concentration, and of trained will; upon this path the co-operation of fellow workers is required, firstly for the exchange of knowledge, and secondly because ritual magic plays an important part in this work, and for this the assistance of several is needed in most of the greater operations. The mystic derives his knowledge through the direct communion of his higher self with the Higher Powers; to him the wisdom of the occultist is foolishness, for his mind does not work in that way; but, on the other hand, to a more intellectual and extrovert type, the method of the mystic is impossible until long training has enabled him to transcend the planes of form. We must therefore recognize these two distinct types among those who seek the Way of Initiation, and remember that there is a path for each.

Anyone who has ever tried to write a novel knows what an arduous task it is, undoubtedly one of the worst ways of occupying oneself. You have to remain within yourself all the time, in solitary confinement. It's a controlled psychosis, an obsessive paranoia manacled to work completely lacking in the feather pens and bustles and Venetian masks we would ordinarily associate with it, clothed instead in a butcher's apron and rubber boots, eviscerating knife in hand. You can only barely see from that writerly cellar the feet of passers-by, hear the rapping of their heels. Every so often someone stops and bends down and glances in through the window, and then you get a glimpse of a human face, maybe even exchange a few words. But ultimately the mind is so occupied with its own act, a play staged by the self ofr the self in a hasty, makeshift cabinet of curiosities peopled by author and character, narrator and reader, the person describing and the person described, that feet, shoes, heels, and faces become, sooner or later, mere components of that act.

One could not but play for a moment with the thought of what might have happened if Charlotte Brontë had possessed say three hundred a year — but the foolish woman sold the copyright of her novels outright for fifteen hundred pounds; had somehow possessed more knowledge of the busy world, and towns and regions full of life; more practical experience, and intercourse with her kind and acquaintance with a variety of character. In those words she puts her finger exactly not only upon her own defects as a novelist but upon those of her sex. at that time. She knew, no one better, how enormously her genius would have profited if it had not spent itself in solitary visions over distant fields; if experience and intercourse and travel had been granted her. But they were not granted; they were withheld; and we must accept the fact that all those good novels, VILLETTE, EMMA, WUTHERING HEIGHTS, MIDDLEMARCH, were written by women without more experience of life than could enter the house of a respectable clergyman; written too in the common sitting-room of that respectable house and by women so poor that they could not afford to, buy more than a few quires of paper at a time upon which to write WUTHERING HEIGHTS or JANE EYRE.

Our inner dialogue is frequently composed of old tape loops that we run again and again... The normal personality marshals sufficient defense mechanisms to exclude dangerous and unknown stimuli and just enough windows to let in an occasional wandering minstrel. Neurotic identity crises come when our defense mechanisms have been too successful and we're encapsulated in the fortress we have constructed with nothing to refresh us in our solitary confinement. So we play the old movies with their stale fears and their unrealistic hopes until we become bored enough to risk disarmament and engagement.

Neurotic identity crises come when our defense mechanisms have been too successful and we're encapsulated in the fortress we have constructed with nothing to refresh us in our solitary confinement. So we play the old movies with their stale fears and their unrealistic hopes until we become bored enough to risk disarmament and engagement.

And I decided to play the hero. See how it felt. To try." "And?" she asks. "I didn't like it," he admits. "Henceforth, I think we should consider our roles as monarchs to be largely decorative. It would be better for the low Courts and the solitary Folk to work things out on their own." "I think you have iron poisoning," she tells him, which could possibly be true but is still a hurtful thing to say when he is making perfect sense.

Every Day You Play.... Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind.  The wind. I alone can contend against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here.  Oh, you do not run away. You will answer me to the last cry. Curl round me as though you were frightened. Even so, a strange shadow once ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the grey light unwinds in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

Deception, flattering, lying, deluding, talking behind the back, putting up a false front, living in borrowed splendor, wearing a mask, hiding behind convention, playing a role for others and for oneself – in short, a continuous fluttering around the solitary flame of vanity – is so much the rule and the law among men that there is almost nothing which is less comprehensible than how an honest and pure drive for truth could have arisen among them.

Are you lonely?" Jonathan asks. How could I tell him that my loneliness was crushing? How it felt awful to be lonely but not know how to reach out to people and fill the time I always had too much of? It wasn't that I didn't enjoy being alone, because I did, and could spend hours on solitary endeavors like reading or going for long walks without ever wishing for human companionship. I could visit the animals at the shelter or write another play for the children to perform. But sometimes I craved the presence of someone else, especially if I could be myself.

I have the idea that we grandmothers are meant to play the part of protective witches; we must watch over younger women, children, community, and also, why not?, this mistreated planet, the victim of such unrelenting desecration. I would like to fly on a broomstick and dance in the moonlight with other pagan witches in the forest, invoking earth forces and howling demons; I want to become a wise old crone, to learn ancient spells and healers' secrets. It is no small thing, this design of mine. Witches, like saints, are solitary stars that shine with a light of their own; they depend on nothing and no one, which is why they have no fear and can plunge blindly into the abyss with the assurance that instead of crashing to earth, they will fly back out. They can change into birds and see the world from above, or worms to see it from within, they can inhabit other dimensions and travel to other galaxies, they are navigators on an infinite ocean of consciousness and cognition.

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

He admired her surety. She knew her own worth and did not pretend otherwise for those who judged her on her parentage. But by refusing to tolerate fools and play nice, she'd condemned herself to a solitary path, both in defeat and in victory.

I see it all so clearly. I have to find my place in the chorus of life. I can’t live as a solitary instrument, ignoring all the beautiful possibilities of a perfect harmony. I’m designed to play off the genius of others, and they need my genius.

So if you like her, if she strikes a chord, this one goes out to you: the angry women, the threatening women, the solitary and the abhorred; women with cold hearts and sharp tongues, who play with fire and fall in love with monsters; women who love women, women who didn’t know they were women at first but know better now, those who thought they were women at first but know better now. We shall be monsters, you and I.

In any case I fully endorse the singer's attitude towards the booklet that he will write and the child he wishes to educate, for not only am I familiar with the passion for education but the desire to write a small book has for a long time also not been far from my thoughts, and now that I am free of my office this desire has assumed the proportions of a precious and alluring promise—to write a book in all good-humor and at my leisure, a pamphlet, an insignificant booklet for my friends and fellow thinkers.' 'And upon what subject, may I ask?' put in Designori with curiosity. 'Oh the subject would not matter so much. It would merely be an opportunity for me to weave my thoughts around some theme and to enjoy the good fortune of having a great deal of free time. The chief thing in my case would be the tone—a tone not of scholarship but a decorous mean between respect and intimacy, between gravity and playfulness, a friendly communication and utterance of sundry things that I believe I have experienced and learned… In the immediate future I cannot anticipate the joys and problems of writing my little book, for I have to prepare myself the luxury of blossoming into authorship, as I see it, with a comfortable but careful presentation of things, not for my solitary pleasure but always bearing in mind a few good friends and readers.

football is not what you accomplish in solitary feats of greatness, but who you get to play it with. The heart of football is found in the huddle—not the highlight

to play a solitary game of chequers, to read, to write – what should I do?

And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice, or piggyback races on the weedy lawn, and it's your voice you hear, essentially, under the glimmerglass sky, and you look at the things in the room, offscreen, unwebbed, the tissued grain of the deskwood alive in light, the thick lived tenor of things, the argument of things to be seen and eaten, the apple core going sepia in the lunch tray, and the dense measures of experience in a random glance, the monk's candle reflected in the slope of the phone, hours marked in Roman numerals, and the glaze of the wax, and the curl of the braided wick, and the chipped rim of the mug that holds your yellow pencils, skewed all crazy, and the plied lives of the simplest surface, the slabbed butter melting on the crumbled bun, and the yellow of the yellow of the pencils, and you try to imagine the word on the screen becoming a thing in the world, taking all its meanings, its sense of serenities and contentments out into the streets somehow, its whisper of reconciliation, a word extending itself ever outward, the tone of agreement or treaty, the tone of repose, the sense of mollifying silence, the tone of hail and farewell, a word that carries the sunlit ardor of an object deep in drenching noon, the argument of binding touch, but it's only a sequence of pulses on a dullish screen and all it can do is make you pensive--a word that spreads a longing through the raw sprawl of the city and out across the dreaming bournes and orchards to the solitary hills. Peace.

The years passed like the steps of a staircase leading lower and lower. I did not walk any more in the sun or hear the songs of larks like crystal fountains playing against the sky. No hand enfolded mine in the warm clasp of love. My thoughts were again solitary, disintegrate, disharmonious – the music gone. I lived alone in a few pleasant rooms, feeling my life run out aimlessly with the tedious hours: the life of an old maid ran out of my fingertips.

When you see organizations like Black Lives Matter under attack for being “racist,” you are seeing the agenda of an unjust economic system at play—a system that seeks to separate groups of people within the majority to benefit the top 1 percent.

Who are you?’ one soldier asked in wonder after listening to him play for hours. ‘Are you man or angel?’ He laughed quietly. ‘I’m both,’ he said. ‘I’m man because I live in a cold solitary cell. I’m an angel because I live above my circumstances.’ The

I seriously doubt that Agnès Varda ever followed in anyone else’s footsteps, in any corner of her life or her art…which were one in the same. She charted and walked her own path each step of the way, she and her camera. Every single one of her remarkable handmade pictures, so beautifully balanced between documentary and fiction, is like no one else’s—every image, every cut… What a body of work she left behind: movies big and small, playful and tough, generous and solitary, lyrical and unflinching…and alive. I saw her for the last time a couple of months ago. She knew that she didn’t have much longer, and she made every second count: she didn’t want to miss a thing. I feel so lucky to have known her. And to all young filmmakers: you need to watch Agnès Varda’s pictures.

Thinking would seem to be a completely solitary activity. And so it is for the other animal species. But for humans, thinking is like a jazz musician improvising a novel riff in the privacy of his own room. It is a solitary activity all right, but on an instrument made by others for that general purpose, after years of playing with and learning from other practitioners, in a musical genre with a rich history of legendary riffs, for an imagined audience of jazz aficionados. Human thinking is individual improvisation enmeshed in a sociocultural matrix.

As the acknowledged leader of the group by now, he threw out another challenge. In his most daring move, he insisted that in the group’s creative adaptation of the play they change the ending. In their version, with the title “To Revenge or Not to Revenge,” Hamlet should choose not to kill.

Tennis is the sport in which you talk to yourself. No athletes talk to themselves like tennis players. Pitchers, golfers, goalkeepers, they mutter to themselves, of course, but tennis players talk to themselves—and answer. In the heat of a match, tennis players look like lunatics in a public square, ranting and swearing and conducting Lincoln-Douglas debates with their alter egos. Why? Because tennis is so damned lonely. Only boxers can understand the loneliness of tennis players—and yet boxers have their corner men and managers. Even a boxer’s opponent provides a kind of companionship, someone he can grapple with and grunt at. In tennis you stand face-to-face with the enemy, trade blows with him, but never touch him or talk to him, or anyone else. The rules forbid a tennis player from even talking to his coach while on the court. People sometimes mention the track-and-field runner as a comparably lonely figure, but I have to laugh. At least the runner can feel and smell his opponents. They’re inches away. In tennis you’re on an island. Of all the games men and women play, tennis is the closest to solitary confinement, which inevitably leads to self-talk, and for me the self-talk starts here in the afternoon shower. This is when I begin to say things to myself, crazy things, over and over, until I believe them. For instance, that a quasi-cripple can compete at the U.S. Open. That a thirty-six-year-old man can beat an opponent just entering his prime. I’ve won 869 matches in my career, fifth on the all-time list, and many were won during the afternoon shower.

From every enjoyment I was, of course, excluded: my share of the gaiety consisted […] in listening to the sound of the piano or the harp played below, to the passing to and fro of the butler and footman, to the jingling of glass and china as refreshments were handed, to the broken hum of conversation as the drawing-room door opened and closed.  When tired of this occupation, I would retire from the stairhead to the solitary and silent nursery […]. I then sat with my doll on my knee, till the fire got low, glancing round occasionally to make sure that nothing worse than myself haunted the shadowy room; and when the embers sank to a dull red, I undressed hastily, tugging at knots and strings as I best might, and sought shelter from cold and darkness in my crib.

Don’t knock romance books. From the last one I read, I learned how to play a solitary card game, snagged the barbecue recipe I cooked today, and discovered how to bring myself to a proper orgasm, which means I can do all three without you. This makes me fully capable of entertaining myself. Coming here, in this dress, and cooking for you was a decision, and like all decisions, it was optional.

If the early English and LA punk bands shared a common sound, the New York bands just shared the same clubs. As such, while the English scene never became known as the '100 Club' sound, CBGBs was the solitary common component in the New York bands' development, transcended once they had outgrown the need to play the club. Even their supposed musical heritage was not exactly common -- the Ramones preferring the Dolls/Stooges to Television's Velvets/Coltrane to Blondie's Stones/Brit-Rock. Though the scene had been built up as a single movement, when commercial implications began to sink in, the differences that separated the bands became far more important than the similarities which had previously bound them together. In the two years following the summer 1975 festival, CBGBs had become something of an ideological battleground, if not between the bands then between their critical proponents. The divisions between a dozen bands, all playing the same club, all suffering the same hardships, all sharing the same love of certain central bands in the history of rock & roll, should not have been that great. But the small scene very quickly partitioned into art-rockers and exponents of a pure let's-rock aesthetic.

Far rather would she that he were dead! She could not sit beside him when he stared so and did not see her and made everything terrible; sky and tree, children playing, dragging carts, blowing whistles, falling down; all were terrible. And he would not kill himself; and she could tell no one. "Septimus has been working too hard"––that was all she could say to her own mother. To love makes one solitary, she thought. She could tell nobody, not even Septimus now, and looking back, she saw him sitting in his shabby overcoat alone, on the seat, hunched up, staring. And it was cowardly for a man to say he would kill himself, but Septimus had fought; he was brave; he was not Septimus now. She put on her lace collar. She put on her new hat and he never noticed; and he was happy without her. Nothing could make her happy without him! Nothing! He was selfish. So men are.

...I decided to play the hero. See how it felt. To try.' 'And?' she asks. 'I didn't like it,' he admits. 'Henceforth, I think we should consider our roles as monarchs to be largely decorative. It would be better for the low Courts and the solitary Folk to work things out on their own.' 'I think you have iron poisoning,' she tells him, which could possibly be true but is still a hurtful thing to say when he is making perfect sense.

Detached gibbous moonlight, Befalls me, Lying still on a sandy hill, In a place far from home. Home, where your warm hands, Once embraced me, Where you suckled me at birth, And kissed me goodnight, Where I once played as a child. Now bereft and solitary, I lie still far away, In a foreign field of sand, They'll bring me home To you soon, To lay me down In an earthen chamber, Beneath a green patch, Close to you, so close, Far from the guns of war.

Epistle to Miss Blount, On Her Leaving the Town, After the Coronation" As some fond virgin, whom her mother’s care Drags from the town to wholesome country air, Just when she learns to roll a melting eye, And hear a spark, yet think no danger nigh; From the dear man unwillingly she must sever, Yet takes one kiss before she parts for ever: Thus from the world fair Zephalinda flew, Saw others happy, and with sighs withdrew; Not that their pleasures caused her discontent, She sighed not that They stayed, but that She went. She went, to plain-work, and to purling brooks, Old-fashioned halls, dull aunts, and croaking rooks, She went from Opera, park, assembly, play, To morning walks, and prayers three hours a day; To pass her time ‘twixt reading and Bohea, To muse, and spill her solitary tea, Or o’er cold coffee trifle with the spoon, Count the slow clock, and dine exact at noon; Divert her eyes with pictures in the fire, Hum half a tune, tell stories to the squire; Up to her godly garret after seven, There starve and pray, for that’s the way to heaven. Some Squire, perhaps, you take a delight to rack; Whose game is Whisk, whose treat a toast in sack, Who visits with a gun, presents you birds, Then gives a smacking buss, and cries – No words! Or with his hound comes hollowing from the stable, Makes love with nods, and knees beneath a table; Whose laughs are hearty, tho’ his jests are coarse, And loves you best of all things – but his horse. In some fair evening, on your elbow laid, Your dream of triumphs in the rural shade; In pensive thought recall the fancied scene, See Coronations rise on every green; Before you pass th’ imaginary sights Of Lords, and Earls, and Dukes, and gartered Knights; While the spread fan o’ershades your closing eyes; Then give one flirt, and all the vision flies. Thus vanish scepters, coronets, and balls, And leave you in lone woods, or empty walls. So when your slave, at some dear, idle time, (Not plagued with headaches, or the want of rhyme) Stands in the streets, abstracted from the crew, And while he seems to study, thinks of you: Just when his fancy points your sprightly eyes, Or sees the blush of soft Parthenia rise, Gay pats my shoulder, and you vanish quite; Streets, chairs, and coxcombs rush upon my sight; Vexed to be still in town, I knit my brow, Look sour, and hum a tune – as you may now.

After a few sips, he picked up his sax and started jamming with the storm. Most days, Rivers meditated twice, when he awoke and again in the evening before writing or reading. But he still found a special relaxation and renewal in solitary playing. Contemplation through music was different from other reflective experiences, in part, because his visual associations were set free to mutate, morph, and meander; while the other senses were occupied in fierce concentraction on breathing, blowing, fingering, and listening. Within the flow of this activity, his awareness would land in different states of consciousness, different phases of time, and easily moved between revisualization of experience and its creation. The playing dislodged hidden feelings, primed him for recognizing the habitually denied, sheathed the sword of lnaguage, and loosened the shield and armor of his character. His contemplative playing purged him of worrisome realities, smelted off from his center the dross of eperience, and on those rare and cherished days, left only the refinement of flickering fire. Although he was more aware of his emotions, the music and dance of thought kept them at arm’s length, Wordsworth’s “emotion recollected in tranquility.” . . . As he played, his mind’s eye became the fisher’s bobber, guided by a line of sound around the driftwood of thought, the residue of his life, which materialized from nowhere and sank back into nothingness without his weaving them into any insistent pattern of order and understanding. He was momentarily freed of logical sequencing, the press of premises, the psycho-logic of primary process, the throb of Thought pulsing in and through him, and in billions of mind/bodies, now and throughout time, belonging each to each, to none, to no one, to Everyone, rocking back and forward in an ebb and flow of wishes, fears, and goals. He fished free of desire, illusion, or multiplicity; distant from the hook, the fisher, the fish; but tethered still on the long line of music, until it snagged on an immovable object, some unquestioned assumption, or perhaps a stray consummation, a catch in the flow of creation and wonder.

Lucy Gray Oft I had heard of Lucy Gray, And when I cross'd the Wild, I chanc'd to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wild Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. "To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow." "That, Father! will I gladly do; 'Tis scarcely afternoon— The Minster-clock has just struck two, And yonder is the Moon." At this the Father rais'd his hook And snapp'd a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse, the powd'ry snow That rises up like smoke. The storm came on before its time, She wander'd up and down, And many a hill did Lucy climb But never reach'd the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlook'd the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turn'd, and cry'd "In Heaven we all shall meet!" When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They track'd the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they cross'd, The marks were still the same; They track'd them on, nor ever lost, And to the Bridge they came. They follow'd from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

III. Ah Vastness of Pines Ah vastness of pines, murmur of waves breaking, slow play of lights, solitary bell, twilight falling in your eyes, toy doll, earth-shell, in whom the earth sings! In you the rivers sing and my soul flees in them as you desire, and you send it where you will. Aim my road on your bow of hope and in a frenzy I will free my flock of arrows. On all sides I see you waist of fog, and yousilence hunts my afflicted hours; my kisses anchor, and my moist desire nests in you with your arms of transparent stone. Ah your mysterious voice that love tolls and darkens in the resonant and dying evening! Thus in deep hours I have seen, over the fields, the ears of wheat tolling in the mouth of the wind.

Apart from such visits, for the first time in her life Eliza was truly alone. In the beginning, unfamiliar sounds, nocturnal sounds, disturbed her, but as the days passed she came to know them: soft-pawed animals under the eaves, the ticking of the warming range, floorboards shivering in the cooling nights. And their were unexpected benefits to her solitary life: alone in the cottage, Eliza discovered that the characters from her fairy tales became bolder. She found fairies playing in the spiders' webs, insects whispering incantations on the windowsills, fire sprites spitting and hissing in the range. Sometimes in the afternoons, Eliza would sit on the rocking chair listening to them. And late at night, when they were all asleep, she would spin their stories into her own tales.

Man tends to regard the order he lives in as natural. The houses he passes on his way to work seem more like rocks rising out of the earth than like products of human hands. He considers the work he does in his office or factory as essential to the har­monious functioning of the world. The clothes he wears are exactly what they should be, and he laughs at the idea that he might equally well be wearing a Roman toga or medieval armor. He respects and envies a minister of state or a bank director, and regards the possession of a considerable amount of money the main guarantee of peace and security. He cannot believe that one day a rider may appear on a street he knows well, where cats sleep and chil­dren play, and start catching passers-by with his lasso. He is accustomed to satisfying those of his physio­logical needs which are considered private as dis­creetly as possible, without realizing that such a pattern of behavior is not common to all human so­cieties. In a word, he behaves a little like Charlie Chaplin in The Gold Rush, bustling about in a shack poised precariously on the edge of a cliff. His first stroll along a street littered with glass from bomb-shattered windows shakes his faith in the "naturalness" of his world. The wind scatters papers from hastily evacuated offices, papers labeled "Con­fidential" or "Top Secret" that evoke visions of safes, keys, conferences, couriers, and secretaries. Now the wind blows them through the street for anyone to read; yet no one does, for each man is more urgently concerned with finding a loaf of bread. Strangely enough, the world goes on even though the offices and secret files have lost all meaning. Farther down the street, he stops before a house split in half by a bomb, the privacy of people's homes-the family smells, the warmth of the beehive life, the furniture preserving the memory of loves and hatreds-cut open to public view. The house itself, no longer a rock, but a scaffolding of plaster, concrete, and brick; and on the third floor, a solitary white bath­ tub, rain-rinsed of all recollection of those who once bathed in it. Its formerly influential and respected owners, now destitute, walk the fields in search of stray potatoes. Thus overnight money loses its value and becomes a meaningless mass of printed paper. His walk takes him past a little boy poking a stick into a heap of smoking ruins and whistling a song about the great leader who will preserve the nation against all enemies. The song remains, but the leader of yesterday is already part of an extinct past.

A man who is awake in the open field at night or who wanders over silent paths experiences the world differently than by day. Nighness vanishes, and with it distance; everything is equally far and near, close by us and yet mysteriously remote. Space loses its measures. There are whispers and sounds, and we do not know where or what they are. Our feelings too are peculiarly ambiguous. There is a strangeness about what is intimate and dear, and a seductive charm about the frightening. There is no longer a distinction between the lifeless and the living, everything is animate and soulless, vigilant and asleep at once. What the day brings on and makes recognizable gradually, emerges out of the dark with no intermediary stages. The encounter suddenly confronts us, as if by a miracle: What is the thing we suddenly see - an enchanted bride, a monster, or merely a log? Everything teases the traveller, puts on a familiar face and the next moment is utterly strange, suddenly terrifies with awful gestures and immediately resumes a familiar and harmless posture. Danger lurks everywhere. Out of the dark jaws of the night which gape beside the traveller, any moment a robber may emerge without warning, or some eerie terror, or the uneasy ghost of a dead man - who knows what may once have happened at that very spot? Perhaps mischievous apparitions of the fog seek to entice him from the right path into the desert where horror dwells, where wanton witches dance their rounds which no man ever leaves alive. Who can protect him, guide him aright, give him good counsel? The spirit of Night itself, the genius of its kindliness, its enchantment, its resourcefulness, and its profound wisdom. She is indeed the mother of all mystery. The weary she wraps in slumber, delivers from care, and she causes dreams to play about their souls. Her protection is enjoyed by the un-happy and persecuted as well as by the cunning, whom her ambivalent shadows offer a thousand devices and contrivances. With her veil she also shields lovers, and her darkness keeps ward over all caresses, all charms hidden and revealed. Music is the true language of her mystery - the enchanting voice which sounds for eyes that are closed and in which heaven and earth, the near and the far, man and nature, present and past, appear to make themselves understood. But the darkness of night which so sweetly invites to slumber also bestows new vigilance and illumination upon the spirit. It makes it more perceptive, more acute, more enterprising. Knowledge flares up, or descends like a shooting star - rare, precious, even magical knowledge. And so night, which can terrify the solitary man and lead him astray, can also be his friend, his helper, his counsellor.

The solitary individual can structure time in two ways: activity and fantasy. An individual can remain solitary even in the presence of others, as every schoolteacher knows. When one is a member of a social aggregation of two or more people, there are several options for structuring time. In order of complexity, these are: (1) Rituals; (2) Pastimes; (3) Games; (4) Intimacy; and (5) Activity, which may form a matrix for any of the others. The goal of each member of the aggregation is to obtain as many satisfactions as possible from his transactions with other members. The more accessible he is, the more satisfactions he can obtain. Most of the programming of his social operations is automatic. Since some of the ‘satisfactions’ obtained under this programming, such as self-destructive ones, are difficult to recognize in the usual sense of the word ‘satisfactions’, it would be better to substitute some more non-committal term, such as ‘gains’ or ‘advantages’.

Oft had I heard of Lucy Gray, And when I crossed the Wild, I chanced to see at break of day The solitary Child. No Mate, no comrade Lucy knew; She dwelt on a wide Moor, The sweetest Thing that ever grew Beside a human door! You yet may spy the Fawn at play, The Hare upon the Green; But the sweet face of Lucy Gray Will never more be seen. 'To-night will be a stormy night, You to the Town must go, And take a lantern, Child, to light Your Mother thro' the snow.' 'That, Father! will I gladly do; 'Tis scarcely afternoon -- The Minster-clock has just struck two, And yonder is the Moon.' At this the Father raised his hook And snapped a faggot-band; He plied his work, and Lucy took The lantern in her hand. Not blither is the mountain roe, With many a wanton stroke Her feet disperse the powd'ry snow That rises up like smoke. The storm came on before its time, She wandered up and down, And many a hill did Lucy climb But never reached the Town. The wretched Parents all that night Went shouting far and wide; But there was neither sound nor sight To serve them for a guide. At day-break on a hill they stood That overlooked the Moor; And thence they saw the Bridge of Wood A furlong from their door. And now they homeward turned, and cried 'In Heaven we all shall meet!' When in the snow the Mother spied The print of Lucy's feet. Then downward from the steep hill's edge They tracked the footmarks small; And through the broken hawthorn-hedge, And by the long stone-wall; And then an open field they crossed, The marks were still the same; They tracked them on, nor ever lost, And to the Bridge they came. They followed from the snowy bank The footmarks, one by one, Into the middle of the plank, And further there were none. Yet some maintain that to this day She is a living Child, That you may see sweet Lucy Gray Upon the lonesome Wild. O'er rough and smooth she trips along, And never looks behind; And sings a solitary song That whistles in the wind.

Indeed, he could not be long in discovering that people beyond a suspicion of unbalance, or not obviously coveting the moment's arrest of attention gained them by their statements, never had experience with or knowledge of the restless dead. Slowly accepting this as evidence that no such things existed, Mr. Lecky found terrors deeper, and to him more plausible, to fill that unoccupied place - the simple sense of himself alone, and, not unassociated with it, the conception of a homicidal maniac quietly pursuing him. The first was exemplified by chance solitude in what he had considered deep woods. No part in it was played by natural dismay which he might have felt at finding himself lost, and none by any tangible suggestion of danger. Mr. Lecky could not even remember where or when it was. Long ago, under a seamless gray sky which would probably end with snow; in an autumnal silence free from birds, unmoved by the least breath of wind, he had come to be walking at random impulse. Leaves, yellow, tan, drifted deep and loose over the difficulties of an uneven hillside. His feet crashed and crackled in them. He was not going anywhere. He had nothing in mind. It might have been this receptive vacancy of thought which let him, little by little, grow aware of a menace. The unnatural light leaf-buried ground, the low dark sky, the solitary noise of his unskilled progress - none of them was good. He began to notice that though the fall of leaves left an apparent bright openness, in reality it merely pushed to a distance the point at which the woods became as impenetrable as a wall. He walked more and more slowly, listening, hearing nothing; looking, seeing nothing. Soon he stopped, for he was not going any farther. Standing in the deep leaves beneath trees bare and practically dead in the catalepsy of impending winter, he knew that he did not want to be here. A great evil - no more to be named than, met, to be escaped - waited fairly close. So he left. He got out of those woods onto an open road where he need not watch for anything he could not see.

As a means for the preserving of the individual, the intellect unfolds its principle powers in dissimulation, which is the means by which weaker, less robust individuals preserve themselves-since they have been denied the chance to wage the battle for existence with horns or with the sharp teeth of beasts of prey, This art of dissimulation reaches its peak in man. Deception, flattering, lying, deluding, talking behind the back, putting up a false front, living in borrowed splendor, wearing a mask, hiding behind convention, playing a role for others and for oneself-in short, a continuous fluttering around the solitary flame of vanity-is so much the rule and the law among men that there is almost nothing which is less comprehensible than how an honest and pure drive for truth could have arisen among them. They are deeply immersed in illusions and in dream images; their eyes merely glide over the surface of things and see "forms." Their senses nowhere lead to truth; on the contrary, they are content to receive stimuli and, as it were, to engage in a groping game on the backs of things.

For she could stand it no longer. Dr Holmes might say there was nothing the matter. Far rather would she that he were dead! She could not sit beside him when he stared so and did not see her and made everything terrible; sky and tree, children playing, dragging carts, blowing whistles, falling down; all were terrible. And he would not kill himself; and she could tell no one. 'Septimus has been working too hard--that was all she could say to her own mother. To love makes one solitary, she thought. She could tell nobody, not even septimus now, and looking back, she saw him sitting in his shabby overcoat alone, on the seat, hunched up, staring. And it was cowardly for a man to say he would kill himself, but Septimus had fought; he was brave; he was not Septimus now. She put on her lace collar. She put on her new hat and he never noticed; and he was happy without her. Nothing could make her happy without him! Nothing! He was selfish. So men are. For he was not ill. Dr Holmes said there was nothing the matter with him. She spread her hand before her. Look! Her wedding ring slipped--she had grown so thin. It was she who suffered--but she had nobody to tell.

For she could stand it no longer. Dr Holmes might say there was nothing the matter. Far rather would she that he were dead! She could not sit beside him when he stared so and did not see her and made everything terrible; sky and tree, children playing, dragging carts, blowing whistles, falling down; all were terrible. And he would not kill himself; and she could tell no one. 'Septimus has been working too hard'--that was all she could say to her own mother. To love makes one solitary, she thought. She could tell nobody, not even Septimus now, and looking back, she saw him sitting in his shabby overcoat alone, on the seat, hunched up, staring. And it was cowardly for a man to say he would kill himself, but Septimus had fought; he was brave; he was not Septimus now. She put on her lace collar. She put on her new hat and he never noticed; and he was happy without her. Nothing could make her happy without him! Nothing! He was selfish. So men are. For he was not ill. Dr Holmes said there was nothing the matter with him. She spread her hand before her. Look! Her wedding ring slipped--she had grown so thin. It was she who suffered--but she had nobody to tell.

For Blitz, meanwhile, an almost tragic dilemma had begun. As time passed, he and Giuseppe understood each other better and better, conversing and playing together on the floor with immense amusement, and so he found himself madly in love also with Giuseppe, as well as Nino. But Nino was always out, and Giuseppe always at home: thus it was impossible for him to live constantly in the company of both his loves, as he would have wished. And in consequence, with either one, he was always tortured by regret: and if he was with one, the mere mention of the others name or a smell that recalled him was enough for his homesickness to stream behind him, like a banner against the wind. At times, while he was on sentry duty outside Ninos school, suddenly, as if at a message brought him by a cloud, he would begin to sniff the sky with a mournful whimper, recalling the incarcerated Giuseppe. For a few minutes, a dissension would rend him, drawing him in two opposite directions at the same time; but finally, having overcome his hesitation, he would dash toward the San Lorenzo house, his long nose cleaving the wind like a prow. But at his destination, unfortunately, he found the door barred; and all his cries, mortified by the muzzle, passionately calling for Giuseppe, were in vain; for Giuseppe, though hearing him and suffering in his solitary room, longing to let him in, was unable to do so. Then, resigning himself to his destiny of waiting outside doors, Blitz would stretch out there on the ground, where, at times, in his boundless patience, he would doze off. And perhaps he had a dream of love, which brought him a reminiscence of Nino: it's a fact that, a moment later, he would stir from his sleep and hop down the steps with desperate whimpers, to retrace his way to the school.

All day long the red squirrels came and went, and afforded me much entertainment by their manoeuvres. One would approach at first warily through the shrub-oaks, running over the snow crust by fits and starts like a leaf blown by the wind, now a few paces this way, with wonderful speed and waste of energy, making inconceivable haste with his “trotters,” as if it were for a wager, and now as many paces that way, but never getting on more than half a rod at a time; and then suddenly pausing with a ludicrous expression and a gratuitous somerset, as if all the eyes in the universe were fixed on him,—for all the motions of a squirrel, even in the most solitary recesses of the forest, imply spectators as much as those of a dancing girl,—wasting more time in delay and circumspection than would have sufficed to walk the whole distance,—I never saw one walk,— and then suddenly, before you could say Jack Robinson, he would be in the top of a young pitch-pine, winding up his clock and chiding all imaginary spectators, soliloquizing and talking to all the universe at the same time,—for no reason that I could ever detect, or he himself was aware of, I suspect. At length he would reach the corn, and selecting a suitable ear, frisk about in the same uncertain trigonometrical way to the top-most stick of my wood-pile, before my window, where he looked me in the face, and there sit for hours, supplying himself with a new ear from time to time, nibbling at first voraciously and throwing the half-naked cobs about; till at length he grew more dainty still and played with his food, tasting only the inside of the kernel, and the ear, which was held balanced over the stick by one paw, slipped from his careless grasp and fell to the ground, when he would look over at it with a ludicrous expression of uncertainty, as if suspecting that it had life, with a mind not made up whether to get it again, or a new one, or be off; now thinking of corn, then listening to hear what was in the wind. So the little impudent fellow would waste many an ear in a forenoon; till at last, seizing some longer and plumper one, considerably bigger than himself, and skilfully balancing it, he would set out with it to the woods, like a tiger with a buffalo, by the same zig-zag course and frequent pauses, scratching along with it as if it were too heavy for him and falling all the while, making its fall a diagonal between a perpendicular and horizontal, being determined to put it through at any rate;—a singularly frivolous and whimsical fellow;—and so he would get off with it to where he lived, perhaps carry it to the top of a pine tree forty or fifty rods distant, and I would afterwards find the cobs strewn about the woods in various directions.

The traditional hospital practice of excluding parents ignored the importance of attachment relationships as regulators of the child’s emotions, behaviour and physiology. The child’s biological status would be vastly different under the circumstances of parental presence or absence. Her neurochemical output, the electrical activity in her brain’s emotional centres, her heart rate, blood pressure and the serum levels of the various hormones related to stress would all vary significantly. Life is possible only within certain well-defined limits, internal or external. We can no more survive, say, high sugar levels in our bloodstream than we can withstand high levels of radiation emanating from a nuclear explosion. The role of self-regulation, whether emotional or physical, may be likened to that of a thermostat ensuring that the temperature in a home remains constant despite the extremes of weather conditions outside. When the environment becomes too cold, the heating system is switched on. If the air becomes overheated, the air conditioner begins to work. In the animal kingdom, self-regulation is illustrated by the capacity of the warm-blooded creature to exist in a broad range of environments. It can survive more extreme variations of hot and cold without either chilling or overheating than can a coldblooded species. The latter is restricted to a much narrower range of habitats because it does not have the capacity to self-regulate the internal environment. Children and infant animals have virtually no capacity for biological self-regulation; their internal biological states—heart rates, hormone levels, nervous system activity — depend completely on their relationships with caregiving grown-ups. Emotions such as love, fear or anger serve the needs of protecting the self while maintaining essential relationships with parents and other caregivers. Psychological stress is whatever threatens the young creature’s perception of a safe relationship with the adults, because any disruption in the relationship will cause turbulence in the internal milieu. Emotional and social relationships remain important biological influences beyond childhood. “Independent self-regulation may not exist even in adulthood,” Dr. Myron Hofer, then of the Departments of Psychiatry and Neuroscience at Albert Einstein College of Medicine in New York, wrote in 1984. “Social interactions may continue to play an important role in the everyday regulation of internal biologic systems throughout life.” Our biological response to environmental challenge is profoundly influenced by the context and by the set of relationships that connect us with other human beings. As one prominent researcher has expressed it most aptly, “Adaptation does not occur wholly within the individual.” Human beings as a species did not evolve as solitary creatures but as social animals whose survival was contingent on powerful emotional connections with family and tribe. Social and emotional connections are an integral part of our neurological and chemical makeup. We all know this from the daily experience of dramatic physiological shifts in our bodies as we interact with others. “You’ve burnt the toast again,” evokes markedly different bodily responses from us, depending on whether it is shouted in anger or said with a smile. When one considers our evolutionary history and the scientific evidence at hand, it is absurd even to imagine that health and disease could ever be understood in isolation from our psychoemotional networks. “The basic premise is that, like other social animals, human physiologic homeostasis and ultimate health status are influenced not only by the physical environment but also by the social environment.” From such a biopsychosocial perspective, individual biology, psychological functioning and interpersonal and social relationships work together, each influencing the other.

The only light came from the windows of those houses she passed that had open curtains, revealing little tableaux of family life: the young couple prostrate on a sofa in front of the television, their small child playing on the floor; the solitary old lady reading the paper; the table set for tea, while an unwatched television cast an aurora borealis of moving shadows in the corner.

During her first weeks of working at Bright Ideas, Lydia had noticed that not all the customers were actually customers, and a whole category of lost men began to formulate in her mind. They were mostly unemployed, mostly solitary, and they--like Joey--spent as much time in the aisles as the booksellers who worked there.They napped in armchairs and whispered in nooks and played chess with themselves in the coffee shop. Even those who didn't read had books piled around their feet, as if fortressing themselves against invading hordes of ignoramuses, and when Lydia saw them folded into the corners for hours at a time, looking monastic and vulnerable, she thought of Mr. Jeremy Fisher, Beatrix Potter's dapper frog who was often portrayed reading a newspaper with his lanky legs in the air. They were like plump and beautiful frogs scattered across the branches of the store, nibbling a diet of poems and crackers.

Leela's happiest childhood memories were of aloneness: reading in her room with the door closed, playing chess on the computer, embarking on long bike rides through the city, going to the movies by herself. You saw more that way, she explained to her parents. You didn't miss crucial bits of dialogue because your companion was busy making inane remarks. Her parents, themselves solitary individuals, didn't object. People– except for a selected handful– were noisy and messy. They knew that.

Apart from such visits, for the first time in her life Eliza was truly alone. In the beginning, unfamiliar sounds, nocturnal sounds, disturbed her, but as the days passed she came to know them: soft-pawed animals under the eaves, the ticking of the warming range, floorboards shivering in the cooling nights. And there were unexpected benefits to her solitary life: alone in the cottage, Eliza discovered that the characters from her fairy tales became bolder. She found fairies playing in the spiders' webs, insects whispering incantations on the windowsills, fire sprites spitting and hissing in the range. Sometimes in the afternoons, Eliza would sit on the rocking chair listening to them. And late at night, when they were all asleep, she would spin their stories into her own tales.

A little farther south he passes the Music Academy. The building is over a hundred years old, and has been training young musicians for forty. A harp sits atop a cupola facing the street corner. Between the windows of the third and the fourth floor, a rocket-propelled grenade has punched a hole through the wall. Inside, another grenade has blown through the wall in the main concert room, but still Kenan hears the sound of pianos coming from within. Several different pieces are being played in various parts of the building, and the music blends together, sometimes becoming unintelligible, a muddy noise of strings struck by hammers, but every so often one of the songs pauses, creating a space for anothe rto emerge, and a few solitary notes of a melody slip out into the street.

If you want to improve in chess,” wrote Ericsson, “you don’t do it by playing chess. You do it with solitary study of the grandmasters’ games.

He found too many real traits to admire in her character--- courage, independence. With all of the needy, clinging ladies waiting for him back in London, he particularly liked her sturdy self-reliance. Gerald Fox's daughter was as sharp as a tack and yet quite down-to-earth. She did not weary him with mindless prattle; did not simper, grovel, or pry; did not even seem to know how to toady to a man of his consequence. She did not play the coquette, either--- a tactic he had enjoyed from women but had never trusted. Instead, she spoke her mind almost as plainly as a man, and as a result, her conversation actually held his interest. Kate peppered her language with witty observations, occasionally made at his expense. He found her saucy impudence oddly refreshing, and instead of minding it, served it back to her. It was great fun to jest and needle each other in mutual irreverence, as they had that night at dinner; one thing they had in common was a willingness to mock their own foibles. Kate laughed at herself for a bluestocking, while he knew very well he was a superstitious fool. But even all of this did not get to the heart of her effect on him. Growing up out there on the moors, isolated from the world, she had an untouched quality about her that made him ache in ways he could not explain. He was so drawn to her. It made him rather uncomfortable. But that night at dinner when she had described her solitary mode of life at her cottage, he had realized that, unlike so many others, she, too, understood the degree of loneliness that he knew all too well.

Gu Mang didn't understand that some people's hearts shouldn't be touched. They never played around; rather, they were the solitary guardians of the pure affection they held cupped in their hands. They had only a little bit of romance in their hearts, just enough to lavish on a singular person in all their life.

And if ever someone calls my child a terrorist, if they call any of the children in my life terrorists, I will hold my child, any child, close to me and I will explain that terrorism is being stalked and surveilled simply because you are alive. And terrorism is being put in solitary confinement and starved and beaten. And terrorism is not being able to feed your children despite working three jobs. And terrorism is not having a decent school or a place to play. I will tell them that what freedom looks like, what democracy looks like, is the push for and realization of justice, dignity and peace. And I will say that to my precious Shine, or Malik, or Nisa, or Nina or any of the children and young people we cherish and lift up, that you are brilliant beings of light. You have the power to shape-shift not only yourselves but the whole of the world. You, each one, are endowed with gifts you don’t even yet know, and you, each one, are what love and the possibility of a world in which our lives truly matter looks like.

The Shakespeare group in open population spent the next year writing an original adaptation of the play geared toward what they affectionately called these “badass kids.” They didn’t focus on the love story, though. Instead, they focused on the peer pressure that can push a good kid like Romeo into murder, and they interwove their own stories of how they each became a teenage killer and what their prison experience had been like. Sort of a Scared Straight through Shakespeare. They called their adaptation Tybalt Must Die!

He had locked her out of his mind and out of his life. She could no longer get through to him, to make him feel the way she used to. He just wanted to forget about her and the way she played on his feelings — the same way she used to play on the guitar, he thought, remembering for a minute. He knew now just how badly she had played the guitar.

When she asked him to play a song while she finished, he had to strum chords for a while and pretend to be tuning up until he settled down. He didn’t want her to see how unsettled he’d been by the whole thing. How unsettled he still was. He had thought he was the fisherman, but he saw now — She had pronged him, with a single stroke, pronged him through the heart and he was caught. Just like with Melody, caught. But this wasn’t Melody, Dicey wasn’t. And besides, he didn’t feel pronged, he felt — overwhelmed, out of breath, breathless.

If he was a ghost in the life he remembered, Jeff thought, he was also a ghost in his present life, just the same way. Except, in all the fourteen years, just a couple of times. With Melody that first summer he had felt alive. On the beach on the island. And when he played the guitar. Most of the time, he thought, he practiced not being anybody. If you weren’t anybody then nobody could — what? Hurt you or leave you behind? Make you unhappy? But then they couldn’t make you happy either, could they? If you played it safe, then you kept safe. Jeff figured he was pretty good at keeping safe — he didn’t even look in mirrors because he didn’t want to see Melody’s eyes. But one result of that was that Jeff didn’t know anything about himself. And he thought, sitting in the little boat, alone on the creek, alone with the creek and the sky and the marshes, that he might want to know more.

If, through the event, Da-sein as the open center of the selfhood that grounds truth is first thrown to itself and becomes a self, then Dasein again, as the concealed possibility of the grounding essential occurrence of beyng, must belong to the event. And in the turning: The event must require Dasein and, in needing it, must place it in the call and thereby bring it before the passing by of the last god. The turning essentially occurs in between the call (to the one that belongs) and the belonging (of the one that is called): the turning is a counter-turning. The call to the leap into the appropriation is the great stillness of the most concealed self-knowledge. Every language of Da-sein originates here and is thus in essence silence (cf. restraint, event, truth, and language). As counter-turning, the event “is” therefore the highest reign over the advent and absconding of the past gods. The most extreme god needs beyng. The call is intrusion and remaining absent in the mystery of the appropriation. Playing out in the turning are the intimations of the last god as the intrusion and remaining absent of the advent and absconding of the gods and of their abode of sovereignty. In these intimations the law of the last god is intimated, the law of the great individuation in Da-sein, of the solitude of the sacrifice, and of the uniqueness of the choice regarding the shortest and steepest path. In the essence of the intimation lies the mystery of the unity of the innermost nearing in the most extreme distance, the traversal of the broadest temporal-spatial playing field of beyng. This extremity of the essential occurrence of beyng requires what is most intrinsic in the plight of the abandonment by being. This plight must belong and listen to the call of the reigning of that intimation. What resonates and spreads out in such listening is first able to prepare for the strife of earth and world, i.e., for the truth of the “there” and, through the “there,” for the site of the moment of the decision and so for the playing out of the strife and thus for the sheltering in beings. Whether this call of the extreme intimation, this most concealed appropriation, still happens openly, or whether the plight becomes mute instead and all reigning is withheld, and whether the call is still taken up, provided it does happen at all, and whether the leap into Da-sein and thus, out of the truth of the latter, the turning still become history—therein is decided the future of humans. They may for centuries still ravish and devastate the planet with their machinations, and the monstrousness of this drive may “develop” to an inconceivable extent, assume the form of an apparent strictness, and become the measuring regulation of the devastated as such; the greatness of beyng will remain closed off, since decisions about truth and untruth and their essence no longer arise. All that matters is the calculation of the success and failure of the machinations. This calculation extends into a presumed “eternity,” which is not such but is only the endless “and so on” of what is most desolate and most fleeting. Where the truth of being is not willed, not incorporated into a willing of knowledge and experience, into a questioning, there all timespace is withdrawn from the moment, i.e., from the flashing up of beyng out of the enduring of the simple and always incalculable event. Or else the moment still belongs only to the most solitary solitudes, although these are denied a grounding comprehension of the instituting of a history. Yet these moments, and they alone, can become the preparations in which the turning of the event unfolds into truth and joins truth. Indeed, only pure persistence in the simple and essential, which are uncompellable, is mature enough for the preparation of such preparedness; the fleetingness of the frenetically self-surpassing machinations is never so mature.

Writing is a solitary act—but it's only the first act. What comes next is what really matters. However, personally, I have never been all that comfortable with the second act. I'm a solitary person by nature and not much of a joiner. Yet still I've come to see the nonfiction writer's solitary act as important to the greater cause—really the only cause—of decreasing cruelty and increasing sympathy. In that service, nonfiction writers can perform two fundamental tasks that are unavailable to the writers of fiction. Like Florence Reece, we can bear witness and we can call for change—for an end to injustices. It is precisely on this subject of bearing witness that I find John D'Agata's recent writing about the genre of nonfiction so malicious and inept. D'Agata argues that nonfiction must serve the greater good of art, and therefore reality can be altered in the name of art. But to elevate reality to the level of art is one of the fundamental tasks of the nonfiction writer, and to say it cannot be done honestly, as D'Agata claims, displays an astonishing lack of imagination as well as an equally unflattering amount of arrogance and pedantry. But let's put aside the either-or nature of this line of thinking. The real problem here is that such an attitude robs nonfiction of it greatest strength and virtue—its ability to bear witness and the veracity that comes from that act. To admit that one only has a passing interest in representing reality is to forfeit one's moral authority to call that reality into question. That is to say, I have no right to call mountaintop removal an injustice—one in need of a new reality—if I cannot be trusted to depict the travesty of strip mining as it now exists. To play D'Agata's game is to lose the reader's trust, and without that, it seems to me that the nonfiction writer has very little left. Writers of that persuasion can align themselves with Picasso's famous sentiment that art is the lie that tells the truth, but I have no truck with such pretentiousness. The work of the nonfiction writers I most admire is telling a truth that exposes a lie.

But here in the open air, this naked, solitary fiddle began a rhythm that played havoc with time, making patterns that set you to moving and told your heart it had been beating the wrong way all your misspent life.

Winter again. The summer people have gone. The early morning walks are solitary once more. Fog wraps the ocean and sky like a wet, gray glove. Sprinting through the frosty dune grass, my dog Buddy emerges soaked and grinning. He's become a man-child, his boundless puppy love and mindless exuberance caroming off the walls in a muscular body. He lives by one rule: To be alive is to be gloriously happy. Not a bad way to be, I often remind myself. Comfortable in the ebb and flow of each other's idiosyncracies and needs, he keeps me company while I work, I join him often in his play. His unflagging high spirits urge me to cram activity and joy into every waking moment as he does. By so doing, I tell myself, I will multiply my allotted time by dog years and dilate the remaining seasons accordingly. A good way to look at life, I figure.

I watched him play every perfect chord as if it were an entire song, every song as if it were a grand sonata. The old man was lost in the captivating music and I was lost too—in his commanding presence, in his seamless movement, in his unmatched talent. His fingers floated effortlessly over the worn strings of the acoustic guitar, each one crossing over the other with calming ease. I found it hard to distinguish where one part ended and another began, inspiring and stirring my soul like a miracle. Elsie watched him with great intent, with great wonder, as did I. Then she got up from her leather armchair in the corner, walked over to the parlor grand piano, and joined in just as the song began to swell to its airy peak. They played together flawlessly, a man and a woman, for what could have been the thousandth time. Yet as I watched them, as the music filled me like the warmth of coming home, I could see it was new to them too, though ancestral and old. I was swept away, amazed at how each part was so distinct, so solitary in and of itself, and how yet it could only capture its full potential, its full beauty, as a part of something greater. I thought of how we are all pieces of music, of how one person would cease to swell without the other, of how the part that moves us the most freely in ourselves might not exist at all. I watched Johnny as he continued to strum, then Elsie as her fingers darted from place to place on the keys of the piano. The music swept over me like a memory of summertime, and I closed my eyes, letting it take me where it would, to a place so strikingly beautiful that everything else was silently perfect, letting the melody lead the moment. The hopeful sound filled my expectant ears and my emotions felt new again, as if I were a child, the moment peacefully pure, like rocking a newborn back to sleep. Wet streams of tears escaped my soft, emotional eyes as I let the notes take their full effect. To Johnny and Elsie, music was a language that didn't require words. In fact, it exceeded them. For what was flowing from the withered hands of the couple before me now was in itself perfection. Words could only ruin a moment this pure. As I watched them, I realized I wanted to care about anything as much as they did about music. A tear ran down my cheek as the last note hung softly, like a butterfly might hang on air. I decided right then that some things in life were much too beautiful not to cry about. This, I now knew, was one of them.

When he glanced at the corner where he used to play by himself, he could almost see the ghost of the little boy he had been. So shy and bashful, afraid to speak to anyone. Owen was rarely tongue-tied now, and his good looks and confidence made him approachable. There was still that solitary little boy inside him, though, and he would always prefer the company of a few to the company of many.

But the character of a man is not to be judged from the pictures which he may draw or from the antics which he may play in his solitary hours. Those who act generally with the most consummate wisdom in the affairs of the world, often meditate very silly doings before their wiser resolutions form themselves.

Druidry are vegetarian, if not vegan, and yet there are still others who eat the flesh of animals. Some do so claiming that ethically raised and slaughtered animals for food are perfectly acceptable to put on our plates. It is entirely your choice. We must accept responsibility for whatever part we choose to play. We must research and sacrifice our ignorance of a subject before coming to a conclusion while living in service to the land. The

I see.” A smile played on his lips. “I must do the thing properly, then. If you’ll rise?” He pressed her to her feet, then slid from the chair and dropped to one knee. He took her hand in his own roughened one. “You will not be offended by the truth?” She looked down at him, this kneeling duke, with his odd, deliberate ways. There was simply no one else like him, and she loved him for that. “I might. But I want it anyway.” He worked shaking fingers between hers, then gave a sharp nod. “Here it is. Eleven years ago, you married an old man who wanted to cheer his last years with a nubile young wife. I have no expectation of dying soon, so I am quite prepared to see you grow haggard and fat over the forthcoming decades.” A crack of laughter burst from her throat; his mouth creased in a barely suppressed smile as he added, “My finances are adequate without the aid of your fortune. And—forgive me for mentioning it—but my bloodline is more noble than yours too.” “This is hardly a litany of praise.” “It’s the truth. And so is this: that there is only one remaining reason for me to offer you marriage. I love you.” His grip about her fingers tightened. “For many years, I had no talent for using my heart, and so I never bothered with it—until you entered my life and showed me the pleasurable bits of life that I was missing. How much sweeter is work when there is someone to play with at day’s end. How a small kindness can grow to touch everyone around it. Everything is better with you near.” The walls around her heart were weak now, indeed. “I want to believe you. So much. But I know your nature is solitary. How can I be sure you won’t tire of me and toss me aside like a Carcel lamp?” “I would never toss aside a Carcel lamp.” She couldn’t help but laugh.

It was from this that Mary Elizabeth Frankenstein was born. So if you like her, if she strikes a chord, this one goes out to you: the angry women, the threatening women, the solitary and the abhorred; women with cold hearts and sharp tongues, who play with fire and fall in love with monsters; women who love women, women who didn’t know they were women at first but know better now, those who thought they were women at first but know better now. We shall be monsters, you and I.

He returns to the junction, he whistles the Minotaur, he is soaring — solitary fight. He is the rear guard. From all sides, hearths of pleating, from all sides, centers of attraction, Pulls, where his life is played. Only one side, made of mantle or spear, would have saved him. if only he could have hardened that one side, fed him, isolated him, and made him barked against everything that lasted. A hundred times, we have told him. But he posted himself at all gates, multiplied his alerts, and soon became besieged. Numbers of shadows circled him, unarmed him. He now only opposes them parts of his body, that he is desperately turning red. (Full translation on Malocchio.blog)

After an hour of romping along the hedgerow and through the orchard, Beatrix took Rye back to the house for his afternoon lessons. “I don’t like lessons,” Rye said, heaving a sigh as they approached the French doors at the side of the house. “I’d much rather play.” “Yes, but you must learn your maths.” “I don’t need to, really. I already know how to count to a hundred. And I’m sure I’ll never need more than a hundred of anything.” Beatrix grinned. “Practice your letters, then. And you’ll be able to read lots of adventure stories.” “But if I spend my time reading about adventures,” Rye said, “I won’t actually be having them.” Beatrix shook her head and laughed. “I should know better than to debate with you, Rye. You’re as clever as a cart full of monkeys.” The child scampered up the stairs and turned to look back at her. “Aren’t you coming in, Auntie?” “Not yet,” she said absently, her gaze drawn to the forest beyond Ramsay House. “I think I’ll go for a walk.” “Shall I come with you?” “Thank you, Rye, but at the moment I need a solitary walk.” “You’re going to look for the dog,” he said wisely. Beatrix smiled. “I might.” Rye regarded her speculatively. “Auntie?” “Yes?” “Are you ever going to marry?” “I hope so, Rye. But I have to find the right gentleman first.” “If no one else will marry you, I will when I’m grown up. But only if I’m taller, because I wouldn’t want to look up at you.” “Thank you,” she said gravely, suppressing a smile as she turned and strode toward the forest.

Whatever else happens, stay busy. (I always lean on this wise advice, from the seventeenth-century English scholar Robert Burton, on how to survive melancholy: “Be not solitary, be not idle.”) Find something to do—anything, even a different sort of creative work altogether—just to take your mind off your anxiety and pressure. Once, when I was struggling with a book, I signed up for a drawing class, just to open up some other kind of creative channel within my mind. I can’t draw very well, but that didn’t matter; the important thing was that I was staying in communication with artistry at some level. I was fiddling with my own dials, trying to reach inspiration in any way possible. Eventually, after enough drawing, the writing began to flow again. Einstein called this tactic “combinatory play”—the act of opening up one mental channel by dabbling in another. This is why he would often play the violin when he was having difficulty solving a mathematical puzzle; after a few hours of sonatas, he could usually find the answer he needed.

And if ever someone calls my child a terrorist, if they call any of the children in my life terrorists, I will hold my child, any child, close to me and I will explain that terrorism is being stalked and surveilled simply because you are alive. And terrorism is being put in solitary confinement and starved and beaten. And terrorism is not being able to feed your children despite working three jobs. And terrorism is not having a decent school or place to play, I will tell them that what freedom looks like, what democracy looks like, is the push for and realization of justice, dignity, and peace. And I will say that to my precious Shine, or Malik, or Nisa, or Nina or any of the children and young people we cherish and lift up, that you are brilliant beings of light. You have the power to shape-shift not only yourselves but the whole world. You, each one, are endowed with gifts you don't even yet know, and you, each one, are what love and the possibility of a world in which our lives truly matter looks like.

XIV [Every day you play with the light of the universe.]” Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. The wind. I can contend only against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh, you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the gray light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees. Pablo Neruda, Twenty Love Poems and a Song of Despair. Trans. W.S. Merwin (Penguin Classics; Bilingual edition, December 26, 2006)

Since man must, to play god, hate other men, it means that this pleasure must be a solitary one and must be exacted at the price of someone’s suffering.

There was love in the home. We just didn’t express it. Perhaps unsurprisingly, I became a bit detached. When I was four, my nursery school teacher apparently told my parents, “David doesn’t always play with the other children. A lot of the time he stands off to the side and observes them.” Whether it was nature or nurture, a certain aloofness became part of my personality. By high school I had taken up long-term residency inside my own head. I felt most alive when I was engaged in the solitary business of writing. Junior year I wanted to date a woman named Bernice. But after doing some intel gathering, I discovered she wanted to go out with another guy. I was shocked. I remember telling myself, “What is she thinking? I write way better than that guy!” It’s quite possible that I had a somewhat constrained view of how social life worked for most people.

In a now-famous experiment, he and his colleagues compared three groups of expert violinists at the elite Music Academy in West Berlin. The researchers asked the professors to divide the students into three groups: the “best violinists,” who had the potential for careers as international soloists; the “good violinists”; and a third group training to be violin teachers rather than performers. Then they interviewed the musicians and asked them to keep detailed diaries of their time. They found a striking difference among the groups. All three groups spent the same amount of time—over fifty hours a week— participating in music-related activities. All three had similar classroom requirements making demands on their time. But the two best groups spent most of their music-related time practicing in solitude: 24.3 hours a week, or 3.5 hours a day, for the best group, compared with only 9.3 hours a week, or 1.3 hours a day, for the worst group. The best violinists rated “practice alone” as the most important of all their music-related activities. Elite musicians—even those who perform in groups—describe practice sessions with their chamber group as “leisure” compared with solo practice, where the real work gets done. Ericsson and his cohorts found similar effects of solitude when they studied other kinds of expert performers. “Serious study alone” is the strongest predictor of skill for tournament-rated chess players, for example; grandmasters typically spend a whopping five thousand hours—almost five times as many hours as intermediatelevel players—studying the game by themselves during their first ten years of learning to play. College students who tend to study alone learn more over time than those who work in groups. Even elite athletes in team sports often spend unusual amounts of time in solitary practice. What’s so magical about solitude? In many fields, Ericsson told me, it’s only when you’re alone that you can engage in Deliberate Practice, which he has identified as the key to exceptional achievement. When you practice deliberately, you identify the tasks or knowledge that are just out of your reach, strive to upgrade your performance, monitor your progress, and revise accordingly. Practice sessions that fall short of this standard are not only less useful—they’re counterproductive. They reinforce existing cognitive mechanisms instead of improving them. Deliberate Practice is best conducted alone for several reasons. It takes intense concentration, and other people can be distracting. It requires deep motivation, often self-generated. But most important, it involves working on the task that’s most challenging to you personally. Only when you’re alone, Ericsson told me, can you “go directly to the part that’s challenging to you. If you want to improve what you’re doing, you have to be the one who generates the move. Imagine a group class—you’re the one generating the move only a small percentage of the time.” To see Deliberate Practice in action, we need look no further than the story of Stephen Wozniak. The Homebrew meeting was the catalyst that inspired him to build that first PC, but the knowledge base and work habits that made it possible came from another place entirely: Woz had deliberately practiced engineering ever since he was a little kid. (Ericsson says that it takes approximately ten thousand hours of Deliberate Practice to gain true expertise, so it helps to start young.)

The solitary chess game Rick is playing when the camera first focuses on him in Casablanca was a real game Bogart was playing by mail with Irving Kovner of Brooklyn. Bogart would play chess with anyone at any time, and, when he was making Casablanca he was also doing his patriotic duty by playing a number of mail games with sailors in the U.S. Navy. Whatever the quality of his game, Bogart loved chess. "I enjoy chess because there's no luck to it," he told Ezra Goodman.

I spent ten years in that place, Lucille,” he mumbles into my mouth between kisses. “Three years in solitary confinement. In Hell. With my mother’s death playing in my head on a loop.” He pulls back a little to get his words out. “There were many moments where I could no longer see the point. Moments I could’ve killed myself. But I never did. Because somewhere deep inside me, I knew there was more to life. I knew there was something that made this meaningless existence worth it. I think even then, Lucille, I was waiting for you.

When ego, unopposed, assumes its throne, The world, in fragments, reaps the seeds it’s sown. A kaleidoscope of discord and divide, Where separate streams in ceaseless turmoil bide. Through ego’s lens, reality transforms, A battleground where rampant desire storms. A sphere of strife, of victory and loss, Where fortunes shift as dice of fate are tossed. In ego’s solitary, narrow view, The world is painted in a hue so skewed. Confined by fears, by selfish dreams confined, Its canvas bears the limits of the mind. Thus, perception, in its manifold grace, Reflects the light of ego and soul’s face. In balance, may the truest sight be found, Where essence and ego in harmony abound. In the crucible where essence blends with sight, A wondrous transformation takes its flight. Where once division’s shadow coldly lay, Interconnection’s dawn breaks forth in day. What opposition’s harsh gaze once discerned, To harmonies of concord is now turned. The essence, with its ancient wisdom’s glow, Unveils the unity that lies below. Each leaf and stone, each soul that wanders free, A note within reality’s grand symphony. Essential, bound within the vast expanse, In life’s intricate, cosmic dance. This alchemical shift in vision’s sphere, Brings forth changes profound, both far and near. Challenges, once daunting, now unfold, As growth’s opportunities, bright and bold. Foes, once clad in enmity’s harsh guise, Transform to teachers, wise beneath the skies. Each joy, each pain, in life’s intricate weave, Threads of our evolution, we perceive. No longer a stage for vain rivalry’s play, But a landscape where learning’s blossoms sway. Growth and learning, in rich abundance, thrive, In this new world where our spirits come alive. Where once the ego’s voice, in solo strain, Ruled with iron will, in self’s domain, Now in harmony with the soul’s sweet song, It finds a place where it truly belongs. No longer master, but a partner kind, Guiding through life with a humble mind. It learns compassion’s tongue, intuition hears, Acts with mindfulness, as purpose nears. In perception’s alchemy, a journey grand, From fractured states to unity’s soft hand, From discord’s harsh cacophony to peace, A path that leads where true essences release. This sacred path, evolving as it weaves, Into our nature’s heart, where spirit cleaves. The veil of separation gently falls, As interconnectedness softly calls. Upon this path, with every step we tread, Our world transforms, new visions in its stead. The mundane now with sacredness imbues, The ordinary in extraordinary hues. Each day becomes a picture, rich and vast, For deepest truths, in vibrant colors cast. Through alchemy of sight, our roles transcend, Not mere observers, but creators bend. In world’s unfolding tale, we play our part, Co-architects, with collective heart. A reality, where highest potentials shine, In this, your design, our spirits intertwine.

But, I think, how bad can it be? I’ll just be hauled up to the front before this spellbound assembly. I mean, it might be embarrassing, but no one ever died of embarrassment, even if shame is the number-one cause of suicide. These paddocks we inhabit, these mind-made manacles, hold us back from the exhilarating naked chase of freedom. I should stay to prove to myself, to other me, negative, fearful me, that we can do it, me and him, the pair of us, both “me’s”: confident, strident, connected me, and fearful, clenched, small-town small-minded me, together. I decide to stay, knowing too that anecdotes are the product of decisions like this. And as I kneel in negotiation with aspects of myself, along comes Carlton. He seems slightly self-conscious too, like he is not too enraptured to notice that I’m conflicted. He gives me a “Shall we do this?” nod, and I give him a “We shall” one back. On the short walk to the front past the others, either bowing or kneeling or whirling or howling, I feel glad that my life is this way; so full of jarring experience. Sometimes you feel that life is full and beautiful, all these worlds, all these people, all these experiences, all this wonder. You never know when you will encounter magic. Some solitary moment in a park can suddenly burst open with a spray of preschool children in high-vis vests, hand in hand; maybe the teacher will ask you for directions, and the children will look at you, curious and open, and you’ll see that they are perfect. In the half-morning half-gray glint, the cobwebs on bushes are gleaming with such radiant insistence, you can feel the playful unknown beckoning. Behind impassive stares in booths, behind the indifferent gum chew, behind the car horns, there is connection.

Some people might think this erratic, possibly a cause for concern. She preferred to think of it as not giving a single, solitary fuck.

James Edward Garcia spent 3 nights in the hotel after Elisa’s death, bringing with him an EVP recorder. He believes the spirit of Elisa came through to him, while in his hotel bedroom. He asks, “Who killed you?” A voice replies, on the EVP recording, “They did.” In the elevator, the same one Elisa was last seen in, he captures a voice saying; “You better keep out! Keep out!” He says, “The creepy whispering voices sound p…d. They are either warning me – or threatening me.” Down in the lobby, a whispered female voice says, “James” several times. Back in his room, his recording equipment picks up what seems to be many voices; a cacophony of them. A female voice comes through, “Save me, please save me!” A man’s voice says, “She died.” A male voice says, “Yeah, blood.” “Killing” the voice says. The female voice returns, “Please save me,” to which James shouts, “Who are you?” A very deep voice replies, “They killed her,” followed by a higher pitch voice saying, “A demon seed.” One night he also slept in the room serial killer Richard Ramirez called his home while on his killing spree. ‘I returned to the room only to find the TV Remote on the floor with the battery cover off and a Tylenol bottle on its side on the table between the beds. I thought that Hotel Security must have been rummaging through my room. I setup a static camera to film my night. I was not aware that my Night Shot Infrared camera picked up a skull face that had bled through the paint on the wall behind me. You can clearly see it and it is pretty scary. At one point my face seems to have morphed into some type of demon possessed creature while I was asleep. It sounds outrageous but watch the footage and you will see what I’m talking about.” Is the Cecil Hotel imbued with demons who play with those who stay there; who get inside their heads? Newsblaze reporter John Kays asks, ‘Isn’t it logical to postulate that whoever killed Elisa Lam (if that’s what happened) was in the throes of the same evil spirit that Jack Unterweger was possessed with?’ Or the spirit of serial killer Richard Ramirez? He is referring to the two serial killers who called this hotel their home. Perhaps Elisa’s death had been part of a serial killer’s quest; but it could just as easily have been a crime of opportunism, by a random, solitary and as yet uncaptured killer; indeed, an un-sought-after-killer too at this

The most poignant image of all is one she only notices as she takes another turn and gazes at the ceiling. In a single patch of blue sky, a solitary gap in the dense canopy, she sees the outline of a familiar bird: a sparrowhawk flying free. She smiles to see it, remembering that first day with Jack in their woodland cathedral. It's then that she realizes, finally, what the room represents. It isn't just a playful depiction of their woodland place, a triumph of the mastery of illusion. This painted room is something else entirely. It is a declaration of love. It is a veiled tribute to their love affair- a depiction of the most precious moments they have shared, laid out in a secret code only she will understand. Lillian spins around, astounded, drinking it all in.

I want to make this point, though, and might also come back to it a few times. It’s an evolutionary response to shut down and go numb like this. When we can’t fight or flee from a horrible threat, we lie down and play dead – we freeze. A deer will do it as a last-ditch survival trick when being chased by a tiger. Playing dead might fool their predator into being a bit casual in their final lunge, giving the deer an opportunity to suddenly jerk back to life and escape. Abuse victims do it as a form of self-protection; anxiety sufferers do it in the face of too many decisions and existential overwhelm. And I reckon it’s what we do to survive when we find ourselves living a life that is so removed from the miraculous. Which is useful to reflect on; it certainly makes me more compassionate about things when I do. Of course, freezing or numbing out can work as a survival trick for a while, but if we remain asleep, particularly as a society, we face our collective demise.

Solitary confinement is one of the punishments most dreaded even by prisoners hardened to physical brutality, and is now a notorious procedure for inducing political compliance. (Conversely, the best of the known weapons against compliance is social organization.)