Stick Figure Quotes

Stick Boy liked Match Girl, He liked her a lot. He liked her cute figure, he thought she was hot. But could a flame ever burn for a match and a stick? It did quite literally; he burned up quick.

A dog has no use for fancy cars or big homes or designer clothes. Status symbol means nothing to him. A waterlogged stick will do just fine. A dog judges others not by their color or creed or class but by who they are inside. A dog doesn't care if you are rich or poor, educated or illiterate, clever or dull. Give him your heart and he will give you his. It was really quite simple, and yet we humans, so much wiser and more sophisticated, have always had trouble figuring out what really counts and what does not. As I wrote that farewell column to Marley, I realized it was all right there in front of us, if only we opened our eyes. Sometimes it took a dog with bad breath, worse manners, and pure intentions to help us see.

My mother tells me that when I meet someone I like, I have to ask them three questions: 1. what are you afraid of? 2. do you like dogs? 3. what do you do when it rains? of those three, she says the first one is the most important. “They gotta be scared of something, baby. Everybody is. If they aren’t afraid of anything, then they don’t believe in anything, either.”I asked you what you were afraid of. “spiders, mostly. being alone. little children, like, the ones who just learned how to push a kid over on the playground. oh and space. holy shit, space.” I asked you if you liked dogs. “I have three.” I asked you what you do when it rains. “sleep, mostly. sometimes I sit at the window and watch the rain droplets race. I make a shelter out of plastic in my backyard for all the stray animals; leave them food and a place to sleep.” he smiled like he knew. like his mom told him the same thing. “how about you?” me? I’m scared of everything. of the hole in the o-zone layer, of the lady next door who never smiles at her dog, and especially of all the secrets the government must be breaking it’s back trying to keep from us. I love dogs so much, you have no idea. I sleep when it rains. I want to tell everyone I love them. I want to find every stray animal and bring them home. I want to wake up in your hair and make you shitty coffee and kiss your neck and draw silly stick figures of us. I never want to ask anyone else these questions ever again.

I felt a mix of wanting to kill him and wanting to kiss him at the same time. When I thought of what true love must be like, I figured it must be like this, and not the stupid eighth grade infatuation most girls my age felt. True love includes an equal part of good and bad, but true sticks around and doesn't run off to Vegas with a podiatrist.

This near enough? Whatcha gonna do, doll girl? Cry all over me?" Claire hid her eyes as the biker reached out for Eve with one tattooed hand. No," Eve said breathlessly. "I'm going to let my boyfriend beat the crap out of you." There was a dull thunk of wood meeting flesh, and a howl. Then another, much harder thunk, and a crash as a body hit the floor. The biker was down. Claire stared at him in disbelief, then looked past him, to the figure standing there with the field hockey stick in both hands. Michael Glass.

Stick Boy liked Match Girl, he liked her a lot. He liked her cute figure, he thought she was hot.

...interests are not discovered through introspection. Instead, interests are triggered by interactions with the outside world. The process of interest discovery can be messy, serendipitous, and inefficient. This is because you can't really predict with certainty what will capture your attention and what won't...Without experimenting, you can't figure out which interests will stick, and which won't.

Because you don’t just walk away from someone when things get tough,” Zac said. “You find a way to stick it out and figure out what’s gone wrong.

This is you." She pointed at the stick figure with enormous red curly marks and blue eyes. Did my hair really look like that? I ran a hand over my head, feeling a bit like Little Orphan Annie.

It killed humans, therefore it was a weapon. But radiation killed humans, and a medical X-ray machine wasn’t intended as a weapon. Holden was starting to feel like they were all monkeys playing with a microwave. Push a button, a light comes on inside, so it’s a light. Push a different button and stick your hand inside, it burns you, so it’s a weapon. Learn to open and close the door, it’s a place to hide things. Never grasping what it actually did, and maybe not even having the framework necessary to figure it out. No monkey ever reheated a frozen burrito.

Because you don't walk away from someone when things get tough, you find a way to stick it out and figure out what's gone wrong. - Zac Greeley, The Boyfriend Thief

If we expect all men to have six-packs and biceps, we can't get mad when they expect us to be stick-figures with DD boobs.

10. Forget everything else. Keep hold of this alone and remember it: Each of us lives only now, this brief instant. The rest has been lived already, or is impossible to see. The span we live is small—small as the corner of the earth in which we live it. Small as even the greatest renown, passed from mouth to mouth by short-lived stick figures, ignorant alike of themselves and those long dead.

The Cyclops was about to roll the stone back into place, when from somewhere outside Annabeth shouted, "Hello, ugly!" Polyphemus stiffened. "Who said that?" "Nobody!" Annabeth yelled. That got exactl;y the reaction she'd been hoping for. The monster's face turned red with rage. "Nobody!" Polyphemus yelled back. "I remember you!" "You're too stupid to remember anybody," Annabeth taunted. "Much less Nobody." I hoped to the gods she was already moving when she said that, because Polyphemus bellowed furiously, grabbed the nearest boulder (which happened to be his front door) and threw it toward the sound of Annabeth's voice. I heard the rock smash into a thousand fragments. To a terrible moment, there was silence. Then Annabeth shouted, "You haven't learned to throw any better, either!" Polyphemus howled. "Come here! Let me kill you, Nobody!" "You can't kill Nobody, you stupid oaf," she taunted. "Come find me!" Polyphemus barreled down the hill toward her voice. Now, the "Nobody" thing would have confused anybody, but Annabeth had explained to me that it was the name Odysseus had used to trick Polyphemus centuries ago, right before he poked the Cyclops's eye out with a large hot stick. Annabeth had figured Polyphemus would still have a grudge about that name, and she was right. In his frenzy to find his old enemy, he forgot about resealing the cave entrance. Apparently, he did even stop to consider that Annabeth's voice was female, whereas the first Nobody had been male. On the other hand, he'd wanted to marry Grover, so he couldn't have been all that bright about the whole male/female thing. I just hoped Annabeth could stay alive and keep distracting him long enough for me to find Grover and Clarisse.

Dates are hard to remember because they consist of figures; figures are monotonously unstriking in appearance, and they don't take hold, they form no pictures, and so they give the eye no chance to help. Pictures are the thing. Pictures can make dates stick.

It seemed to me that the people who made the rules of the road had figured out everything that would help a person drive safely right down to having a sign that tells you you're passing through a place where deer cross. Somebody should stick up some signs on the highway of life. CAUTION: JERKS CROSSING. Blinking yellow lights when you're about to to something stupid. Stop signs in front of people who could hurt you. Green lights shining when you're doing the right thing. It would make the whole experience easier.

Not at all. You look as though magic has taken hold of you. It must be magic because I don't know how you can draw like that. I can barely manage a stick figure.

But criticism, for the most part, comes from the opposite place that book-enjoying should come from. To enjoy art one needs time, patience, and a generous heart, and criticism is done, by and large, by impatient people who have axes to grind. The worst sort of critics are (analogy coming) butterfly collectors - they chase something, ostensibly out of their search for beauty, then, once they get close, they catch that beautiful something, they kill it, they stick a pin through its abdomen, dissect it and label it. The whole process, I find, is not a happy or healthy one. Someone with his or her own shit figured out, without any emotional problems or bitterness or envy, instead of killing that which he loves, will simply let the goddamn butterfly fly, and instead of capturing and killing it and sticking it in a box, will simply point to it - "Hey everyone, look at that beautiful thing" - hoping everyone else will see the beautiful thing he has seen. Just as no one wants to grow up to be an IRS agent, no one should want to grow up to maliciously dissect books.

Cold men destroy women,” my mother wrote me years later. “They woo them with something personable that they bring out for show, something annexed to their souls like a fake greenhouse, lead you in, and you think you see life and vitality and sun and greenness, and then when you love them, they lead you out into their real soul, a drafty, cavernous, empty ballroom, inexorably arched and vaulted and mocking you with its echoes—you hear all you have sacrificed, all you have given, landing with a loud clunk. They lock the greenhouse and you are as tiny as a figure in an architect’s drawing, a faceless splotch, a blur of stick limbs abandoned in some voluminous desert of stone.

The princess snorted. "If you haven't figured out by now that I don't care what you think of me, let this be the lesson that sticks.

It's the hardest thing in the world to put yourself in someone else's place, try to really feel what they feel, figure out why they do the things they do. Especially when it's easier to stick a label on something. Or someone.

I looked down at my chest, figuring there had to be a bullet hole. Or an arrow sticking out. Something to explain the pain. But then I realized it was just my heart. Breaking.

Your mind is the canvas upon which you are the artist. What will you paint on your canvas today? Will you draw a stick figure or create a masterpiece...?

My mother tells me that when I meet someone I like, I have to ask them three questions: 1. what are you afraid of? 2. do you like dogs? 3. what do you do when it rains? of those three, she says the first one is the most important. “They gotta be scared of something, baby. Everybody is. If they aren’t afraid of anything, then they don’t believe in anything, either.” I asked you what you were afraid of. “spiders, mostly. being alone. little children, like, the ones who just learned how to push a kid over on the playground. oh and space. holy shit, space.” I asked you if you liked dogs. “I have three.” I asked you what you do when it rains. “sleep, mostly. sometimes I sit at the window and watch the rain droplets race. I make a shelter out of plastic in my backyard for all the stray animals; leave them food and a place to sleep.” he smiled like he knew. like his mom told him the same thing. “how about you?” me? I’m scared of everything. of the hole in the o-zone layer, of the lady next door who never smiles at her dog, and especially of all the secrets the government must be breaking it’s back trying to keep from us. I love dogs so much, you have no idea. I sleep when it rains. I want to tell everyone I love them. I want to find every stray animal and bring them home. I want to wake up in your hair and make you shitty coffee and kiss your neck and draw silly stick figures of us. I never want to ask anyone else these questions ever again.

He’s a good man. Fiercely loyal and loves his family. Very protective of his heart. But once he gives it, he doesn’t take it back.” “Thank you.” “You can fix the rest. Pry the stick out of his ass and hit him over the head with it a few times. He’s smart. He’ll figure it out real quick.” “Now that, I can do.

It was a stick-figure drawing. Two people holding hands. A thin man in black and a girl, half his height with short hair, and wide eyes. The stick-girl’s head was cocked slightly, and a small red spot marked her arm. Three similar spots, no bigger than periods, dotted the stick-man’s chest. The stick-man’s mouth was nothing more than a faint grim line. Beneath the drawing ran a single sentence: I made a friend.

I F YOU WANT TO IMAGINE the future, imagine a boy and his dog and his friends. And a summer that never ends. And if you want to imagine the future, imagine a boot…no, imagine a sneaker, laces trailing, kicking a pebble; imagine a stick, to poke at interesting things, and throw for a dog that may or may not decide to retrieve it; imagine a tuneless whistle, pounding some luckless popular song into insensibility; imagine a figure, half angel, half devil, all human… Slouching hopefully towards Tadfield…. …forever.

Mor stayed overnight, even going so far as to paint some rudimentary stick figures on the wall beside the storeroom door. Three females with absurdly long, flowing hair that all resembled hers; and three winged males, who she somehow managed to make look puffed up on their own sense of importance.

Quinn to Alaric "“No way, buddy. Don’t touch me until we figure this out. You might electrocute me, which would totally ruin my day. Or, worse, it would send some kind of energy beam through me like when you, um, healed me earlier, and I’m not going to try making love to a glowing light stick just yet.” Day, Alyssa. “Heart Of Atlantis.

We stick together, and it makes me feel a little better knowing that, even at thirty-two, Liza hasn’t figured her life out yet.

Once upon a time, there was a beautiful PR princess named Giana,” he said, showing the stick figure with glasses and curly hair with a headpiece on. He licked his thumb and flipped the page. “And a dumb safety named Clay.” The crowd laughed at the next drawing, which was a

The important things in life always happened by accident. At fifteen she didn’t know much, in fact, with each passing year she was a lot less clear about most things. But this much she did know. You could worry yourself sick trying to be a better person, spend a thousand sleepless nights figuring out how to live clean and decent and honest, you could make a plan and bolt it in place, kneel by your bed every night and swear to God you’d stick to it, hell, you could go to church and promise properly. You could cross your heart seven times with your eyes tight shut, cut your thumb and squeeze it and pen solemn vows on a rock with your own blood then throw it in the river at the stroke of midnight. And then, out of the black beyond, like a hawk on a rat, some nameless catastrophe would swoop into your life and turn everything upside down and inside out forever.

Holden was starting to feel like they were all monkeys playing with a microwave. Push a button, a light comes on inside, so it’s a light. Push a different button and stick your hand inside, it burns you, so it’s a weapon. Learn to open and close the door, it’s a place to hide things. Never grasping what it actually did, and maybe not even having the framework necessary to figure it out. No monkey ever reheated a frozen burrito. So here the monkeys were, poking the shiny box and making guesses about what it did.

Must love decorating for holidays, mischief, kissing in cars, and wind chimes. No specific height, weight, hair color, or political affiliation required but would prefer a warm spirited non racist. Cynics, critics, pessimists, and “stick in the muds” need not apply. Voluptuous figures a plus. Any similarity in look, mind set, or fashion sense to Mary Poppins, Claire Huxtable, Snow White, or Elvira wholeheartedly welcomed. I am dubious of actresses, fellons and lesbians but dont want to rule them out entirely. Must be tolerant of whistling, tickle torture, James Taylor, and sleeping late. I have a slight limp, eerily soft hands, and a preternatural love of autumn. I once misinterpreted being called a coal-eyed dandy as a compliment when it was intended as an insult. I wiggle my feet in my sleep, am scared of the dark, and think the Muppets Christmas Carol is one of the greatest films of all time. All I want is butterfly kisses in the morning, peanut butter sandwiches shaped like a heart, and to make you smile until it hurts.

Swear to God, you come near us and–” “Like this?” The biker sidestepped a slash from the hockey stick, grabbed it on the way, and yanked it out of Eve’s hands. He tossed it over his shoulder to land on the floor with a clatter. “This near enough? Whatcha gonna do, doll girl?” Claire hid her eyes as the biker reached out for Eve with one tattooed hand. “No,” Eve said breathlessly. “I’m going to let my boyfriend beat the crap out of you.” There was a dull thunk of wood meeting flesh, and a howl. Then another, harder thunk, and a crash as a body hit the floor. The biker was down. Claire stared at him in disbelief, then looked past him, to the figure standing there with the field hockey stick in both hands. Michael Glass. Back from the dead, again, a gorgeous blond avenging angel, breathing hard.

Your sister," I say evenly, "is incredibly sick. I'm sorry if that interferes with your dentist's appointment or your plan to go buy a pair of cleats. But those don't rate quite as high in the grand scheme of things right now. I'd think that since you're ten, you might be able to grow up enough to realize that the whole world doesn't always revolve around you." Jesse looks out the window, where Kate straddles the arm of an oak tree, coaching Anna in how to climb up. "Yeah, right, she's sick," he says. "Why don't you grow up? Why don't you figure out that the world doesn't revolve around her?" ... There is a scuffle on the other side of the door, and then it swings open. Blood covers Jesse's mouth, a vampire's lipstick; bits of wire stick out like a seamstress's pins. I notice the fork he is holding, and realize this is what he used to pull off his braces. "Now you never have to take me anywhere," he says.

But you never know when the magic will descend on you. You never know when the grooves will open up. And once the magic descends you don’t want to change even the smallest detail. You don’t know what concordance of factors and variables yields that calibrated can’t-miss feeling, and you don’t want to soil the magic by trying to figure it out, but you don’t want to change your grip, your stick, your side of the court, your angle of incidence to the sun. Your heart’s in your throat every time you change sides of the court.

Figure out which affirmations you need to hear the most and repeat them all day long in your head, in the car, while you’re walking down the street pretending to be on the phone, under your breathe in line at the DMV. Write them on Post-it notes and stick them around your house, on your mirrors, in your refrigerator, in your car. Write down your favorite affirmations ten times every morning and ten times every night before you go to bed and say them out loud. Here

I had to stop selling stick-figure portraits of women at the beach, after too many customers complained I was making them look “too fat.

thog no girly-orc, thog manly-orc who just happens to like figure skating!

Eventually, I developed my own image of teh "befriending" impulse behind my depression. Imagine that from early in my life, a friendly figure, standing a block away, was trying to get my attention by shouting my name, wanting to teach me some hard but healing truths about myself. But I-- fearful of what I might hear or arrogantly trying to live wihtout help or simply too busy with my ideas and ego and ethics to bother-- ignored teh shouts and walked away. So this figure, still with friendly intent, came closer and shouted more loudly, but AI kept walking. Ever closer it came, close enough to tap me on the shoulder, but I walked on. Frustrated by my unresponsiveness, the figure threw stones at my back, then struck me with a stick, still wanting simply to get my attention. But despite teh pain, I kept walking away. Over teh years, teh befriending intent of this figure never disapppeared but became obscured by the frustration cuased by my refusal to turn around. Since shouts and taps, stones and sticks had failed to do the trick, there was only one thing left: drop the nuclear bomb called depression on me, not with the intent to kill but as a last-ditch effort to get me to turn and ask the simple question, "What do you want?" When I was finally able to make the turn-- and start to absorb and act on the self-knowledge that then became available to me-- I began to get well. The figure calling to me all those years was, I believe, what Thomas Merton calls "true self." This is not the ego self that wants to inflate us (or deflate us, another from of self-distortion), not the intellectual self that wants to hover above the mess of life in clear but ungrounded ideas, not the ethical self that wants to live by some abstract moral code. It is the self-planted in us by the God who made us in God's own image-- the self that wants nothing more, or less, than for us to be who we were created to be. True self is true friend. One ignores or rejects such friendship only at one's peril.

Kylie’s not thin. So what? I don’t care. She’s incredibly sexy and I love her figure. I love how lush she is and how much she adores life. Mostly, I love how giving and wonderful she is. I love how when I’m with her, she’s the most important person in the world to me, and I’m the most important to her. That’s what love is, Daphne. It’s not lashing out and then hoping they’ll stick around despite your behavior. It’s trying to be the best person you can to make the other person happy.

I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, God damn it! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!

So, a good process for making your ideas stickier is: (1) Identify the central message you need to communicate—find the core; (2) Figure out what is counterintuitive about the message—i.e., What are the unexpected implications of your core message? Why isn’t it already happening naturally? (3) Communicate your message in a way that breaks your audience’s guessing machines along the critical, counterintuitive dimension. Then, once their guessing machines have failed, help them refine their machines.

The best thing I can say to you is that we are not only one thing forever. We’re allowed to change at any point in our lives. We don’t have to be stuck with a label someone else assigns us. Gods, we don’t even have to stick to a label we give ourselves. So, you can be bi or pan or a lesbian or queer, and tomorrow you may have a better sense of who you are, or tomorrow you can be a big ole queer mess and figure it out fifty years from now.

At the end of that class Demian said to me thoughtfully: "There’s something I don’t like about this story, Sinclair. Why don’t you read it once more and give it the acid test? There’s something about it that doesn’t taste right. I mean the business with the two thieves. The three crosses standing next to each other on the hill are almost impressive, to be sure. But now comes this sentimental little treatise about the good thief. At first he was a thorough scoundrel, had committed all those awful things and God knows what else, and now he dissolves in tears and celebrates such a tearful feast of self-improvement and remorse! What’s the sense of repenting if you’re two steps from the grave? I ask you. Once again, it’s nothing but a priest’s fairy tale, saccharine and dishonest, touched up with sentimentality and given a high edifying background. If you had to pick a friend from between the two thieves or decide which one you’d rather trust, you most certainly wouldn’t choose the sniveling convert. No, the other fellow, he’s a man of character. He doesn’t give a hoot for ‘conversion’, which to a man in his position can’t be anything but a pretty speech. He follows his destiny to it’s appointed end and does not turn coward and forswear the devil, who has aided and abetted him until then. He has character, and people with character tend to receive the short end of the stick in biblical stories. Perhaps he’s even a descendant of Cain. Don’t you agree?" I was dismayed. Until now I had felt completely at home in the story of the Crucifixion. Now I saw for the first time with how little individuality, with how little power of imagination I had listened to it and read it. Still, Demian’s new concept seemed vaguely sinister and threatened to topple beliefs on whose continued existence I felt I simply had to insist. No, one could not make light of everything, especially not of the most Sacred matters. As usual he noticed my resistance even before I had said anything. "I know," he said in a resigned tone of voice, "it’s the same old story: don’t take these stories seriously! But I have to tell you something: this is one of the very places that reveals the poverty of this religion most distinctly. The point is that this God of both Old and New Testaments is certainly an extraordinary figure but not what he purports to represent. He is all that is good, noble, fatherly, beautiful, elevated, sentimental—true! But the world consists of something else besides. And what is left over is ascribed to the devil, this entire slice of world, this entire half is hushed up. In exactly the same way they praise God as the father of all life but simply refuse to say a word about our sexual life on which it’s all based, describing it whenever possible as sinful, the work of the devil. I have no objection to worshiping this God Jehovah, far from it. But I mean we ought to consider everything sacred, the entire world, not merely this artificially separated half! Thus alongside the divine service we should also have a service for the devil. I feel that would be right. Otherwise you must create for yourself a God that contains the devil too and in front of which you needn’t close your eyes when the most natural things in the world take place.

Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there’s been any fault at all to-day, it’s mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I’m wrong in these clothes. I’m wrong out of the forge, the kitchen, or off th’ meshes. You won’t find half so much fault in me if you think me in forge dress, with my hammer in my hand, or even my pipe. You won’t find half so much fault in me if, supposing as you should ever wish to see me, you come and put your head in at the forge window and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. I’m awful dull, but I hope I’ve beat out something nigh the rights of this at last. And so God bless you, dear old Pip, old chap, God bless you!

Holden was starting to feel like they were all monkeys playing with a microwave. Push a button, a light comes on inside, so it’s a light. Push a different button and stick your hand inside, it burns you, so it’s a weapon. Learn to open and close the door, it’s a place to hide things. Never grasping what it actually did, and maybe not even having the framework necessary to figure it out. No monkey ever reheated a frozen burrito.

I adjusted my skirt again and looked down to evaluate the decency of its length. It's fine, Anna. At least my legs had a little muscle these days, instead of looking like a pair of toothpicks. Although I'd been pegged with nicknames like "Twiggy" and "Sticks" growing up, I didn't obsess about my figure, or lack of one. Padded bras were a helpful invention, and I was satisfied with the two small indentations in my sides that passed for a waist. Running had become my new pastime five weeks ago, after I'd read how my body is the "temple of my soul." Healthy temple: check.

was slated for the afternoon shift with Nate, but hell if I was sticking to the schedule. I figured one of two things would happen the more time I spent with her. I’d learn she was annoying, a pain in the ass, or silly, and all of those would be great because I could get her out of my system.

It was a crude drawing of a smiling, female stick figure with red hair and a T-shirt that read “Kerry.” Above Kerry’s head was a yellow dog. Those two elements alone, of course, would not have caused a problem. Unfortunately, there was a third element to the drawing: a shower of large brown clumps raining down from the yellow dog’s rear onto Kerry’s face. And just in case the viewer wasn’t sure how Kerry felt about that, a thought bubble protruding from her head read, “I like it.” “It’s very upsetting,” my teacher said. “Why is the dog above her head? That doesn’t even make sense. How’d he get above her head?” he asked, turning to me. “I don’t know,” I said. “You have to draw a hill or something under the dog. A dog can’t just float up into the atmosphere and take a shit on someone’s head. I mean, I know you’re six or seven or whatever, but that’s pretty basic physics right there,” he said. “Mr. Halpern, that’s really not the issue,” my teacher said. “I dunno, seems like a pretty big issue to me. At least we know we can cross artist off the list,” he said.

Because I kissed you? Seriously? You only like me because I’m a good kisser? That’s it. We’re not doing this. I’m not letting you risk your life just because you can’t think with your upstairs brain.” “No, you twit.” Ryan laughed. “Because you kissed me that day. I expected the ice queen and got a funny, go-with-the-flow girl that didn’t care what anyone thought about her. A girl willing to stir up gossip just so that I could win a date with someone else. “You didn’t have to help me. In fact, you probably should have been insulted, but you weren’t. You kissed me, you smiled, and then you wished me good luck. No one’s ever surprised me like that. I couldn’t figure out why you did it, and I just had to get to know you after that.” I had no idea that stupid kiss had that kind of effect on him. Charged him up like a battery, sure, but do all that? All this time I really thought it was just the superkissing that kept him coming back. I looked down at my lunch, feeling a little ashamed of my lack of faith in him, but Ryan couldn’t stop there. Oh, no, not Ryan Miller. “After that day, every time I was with you I got brief glimpses of the real Jamie, the one who is dying to break out, and she was this fun, relaxed, smart, funny, caring girl. Finding out the truth about you only made you that much more incredible. You’re so strong. You’ve gone through so much, you’re going through so much, but you never stop trying. You’re amazing.” I was surprised when I felt Ryan’s hand lift my chin up. I didn’t want to look at him, I knew what would happen to my heart if I did, but I couldn’t stop myself. I craved him too much. When we made eye contact, his face lit up and he whispered, “I love you, Jamie Baker.” It came out of nowhere, and it stole the breath from me, leaving me speechless. Ryan stared at me, just waiting for some kind of reaction, and then I was the one who broke the no-kissing rule. It wasn’t my fault. He totally cheated! Like anyone could resist Ryan Miller when he’s touching your face and saying he loves you? I threw myself at him so fast that I startled him for a change, and he was the one who had to pull me off him when his hair started to stick up. “Sorry,” I breathed as he pulled away. “Don’t be sorry,” he teased. “Just stop.” “Sorry,” I said again when I noticed that his leg was now bouncing under the table. “Yeah. Looks like I don’t get to sleep through economics today.” “On the bright side, Coach could make you run laps all practice long and you’d be fine.

My mother says it can't stay like this, but I believe it will. The Pants are like an omen. They stand for the promise we made to one another, that no matter what happens, we stick together. But they stand for a challenge too. It's not enough to stay in Bethesda, Maryland, and hunker down in air-conditioned houses. We promise one another that someday we'd get out in the world and figure some stuff out.

Absentmindedly, I started doodling in the margins of my paper. Renee, I wrote in cursive, and then again in bubble letters and then in the loopy handwriting of the mystery note. I drew a tiny picture of the moon above the lake. And then stick figures of people swimming in it. And then for some reason, I wrote Dante. First in print, and then in large, wavy letters, and then in all caps. Dante. Dante. DANTE. I had just finished writing, when I heard someone say my name. “Renee.” I shook myself out of my daze to discover that Mr. B. and the entire class were staring at me. “Earth to Renee. The most primitive tombs. What were they called?” he repeated. I glanced at my notes for the answer, but they were covered in doodles. “Dante,” I blurted out, reading the first word I saw. Immediately my face went red. “No, sorry, I meant . . . I meant dolmen.” I winced, hoping I was right so that I would be saved from further embarrassment. Thankfully, Dante wasn’t in my class. Mr. B. smiled. “Correct,” he said, returning to the board. He drew a diagram of a stonelike lean-to, which I recognized from the reading. I took notes and kept my head down for the rest of class.

How is it?" I ask as we stroll towards the dressing rooms. "Working at the playground. That must be fun." "Sure, they're just adorable," she says, "For the first five minutes. And then I want to wring their adorable little necks." I stop, shocked. "I always figured you loved kids." "Yeah, no." Kayla shakes her head emphatically. "One kid, I can do, even two-- just stick them in front of a Disney movie, let them play Xbox all night. But a herd of them?" She shudders.

Here," I said, the morning after the lazy, stupid Derek incident, as I intercepted Camden on his way to his locker shortly before the first-period bell and dragged him into an empty physics lab. I handed him three problem sets with the words PECKER and BALLS written all over them in multicolored highlighters, plus pictures of stick-figure people having sex in different positions. "This is to force your douche-bag friends to copy over the stuff in their own handwriting before they hand it in. There's no way I'm letting us get caught just because our clients get lazy." I crossed my arms and stared at him, daring him to get mad. He didn't. He just looked at the papers, surprised, then looked at me. "That's actually a really good idea," he said, sounding impressed. "I know," I said. "And these pictures you drew are weirdly hot." "I don't disagree," I said. "By the way, I'm charging you for the highlighters I bought." I think he might've said "I love you" as I walked out of the classroom, but the hallway was noisy, so I couldn't be sure.

Here’s a handy list of warning signs of the worst people on the road. Some are tuned-out menaces, others are just assholes. Be alert, and if you see this on a vehicle close to you, get away now. STICK FIGURE FAMILY: I hereby decree that you are allowed to accelerate to ramming speed every time you see a minivan with a silhouette of the family and their names on the rear window. We get it, you didn’t pull out. Is that information you really think I’m interested in? I know you’re a parent. You’re driving a Plymouth Voyager with two hundred thousand miles on it; do you imagine I’m behind you thinking, “Who is that gay entrepreneur?” Even worse is the theme family. Oh, you’re into snowboarding? Oh, you’ve got cats? Oh, they’ve all got Mickey ears, they must really love Disney. You know what I love? Driving more than fifty-three miles an hour. How about a stick figure depiction of your family moving the fuck over and letting me get to work on time?

Excerpt from "The Trees in Winter"         I’m old now and tired. Dried up and brittle. My hands are like clumsy crooked twigs hanging from my stick figure wrists. My body doesn’t work like it used to, and what goes on in my mind feels about as useful as a cheap trick performed day after day by a third rate magician, an act so worn out that not even I can pretend to be entertained by it anymore. There’s nothing much left to say and even less to do. The repetition is uninspiring, like playing the same set of the same songs day after day. The jazz has gone out of my life, and the dull plodding rhythm I’m left with will never bring it back. There’s a persistent chill in the house that follows me around. Maybe it’s not in the house but in me. Am I becoming morbid? Am I becoming anything?

The solution is really simple: Figure out what time you can carve out, what time you can steal, and stick to your routine. Do the work every day, no matter what. No holidays, no sick days. Don’t stop. What you’ll probably find is that the corollary to Parkinson’s Law is usually true: Work gets done in the time available.

She talked to me earlier,” Frank said abruptly. “Hazel told me you figured out about my lifeline.” Leo stirred. He’d almost forgotten Frank was standing next to him. “Your lifeline…oh, the burning stick. Right.” Leo resisted the urge to set his hand ablaze and yell: Bwah ha ha! The idea was sort of funny, but he wasn’t that cruel.

A presence that makes my breath come so quick and so shallow, I worry I might be having a panic attack. I glance at Pete and Elliana flirting, at Rose sticking her tongue out at J.R., and I can’t figure out how they don’t feel it.

I started going over the lines in my head for this French play I’m in at school. I play a rabbit called Janot Lapin, who’s the leader of a group of farm animals. It’s not the most interesting play in the universe, but we only know three verb tenses so far so we didn’t have a lot of choices. There’s this one scene where I’m really hungry because the landowners aren’t feeding us, and I keep saying, “J’ai faim.” In case you don’t know, that means “I’m hungry,” but it really means “I have hunger.” That’s what real French people say. I think it’s neat how French people have hunger, but they aren’t hungry like Americans are. I mean, it’s a lot easier to try not to have something than to try not to be it.

Dear Fathers of the Fatherless Children, The Chief Guardian dives deep and pulls strength from all the hardships and struggles that are thrown at her, yet she is blamed for everything that has gone wrong. Not only is she blamed for everything, but she is also always judged by her actions. As she’s being blamed and judged she’s always given a shitty stick and dealt an unfair hand. How is that fair to the Chief Guardian? She is the one who has to carry the load when she doesn’t have any fight left. She is the one who has to figure every burden out, without any help from the fathers of the fatherless children. Yet she finds the courage to figure it out as she keeps pushing and moving on through the pain.

A hint of lace had been added at her cleavage, accentuating the fact that, at fourteen, Peony had already developed curves that Cinder couldn’t begin to hope for. If Cinder’s body had ever been predisposed to femininity, it had been ruined by whatever the surgeons had done to her, leaving her with a stick-straight figure. Too angular. Too boyish. Too awkward with her heavy artificial leg.

It's not appropriate," Tessa said to her husband, Will. "He likes it." "Children like all sorts of things, Will. They like sweets and fire and trying to stick their head up the chimney. Just because he likes the dagger..." "Look how steadily he holds it." Little James Herondale, age two, was in fact holding a dagger quite well. He stabbed it into a sofa cushion, sending out a burst of feathers. "Ducks," he said, pointing at the feathers. Tessa swiftly removed the dagger from his tiny hands and replaced it with a wooden spoon. James had recently become very attached to this wooden spoon and carried it with him everywhere, often refusing to go to sleep without it. "Spoon," James said, tottering off across the parlor. "Where did he find the dagger?" Tessa asked. "It's possible I took him to the weapons room," Will said. "Is it?" "It is, yes. It's possible." "And it's possible he somehow got a dagger from where it is secured on the wall, out of his reach," Tessa said. "We live in a world of possibilities," Will said. Tessa fixed a gray-eyed stare on her husband. "He was never out of my sight," Will said quickly. "If you could manage it," Tessa said, nodding to the sleeping figure of Lucie Herondale in her little basket by the fire, "perhapds you won't give Lucie a broadsword until she's actually able to stand? Or is that asking too much?" "It seems a reasonable request," Will said, with an extravagant bow. "Anything for you, my pearl beyond price. Even withholding weaponry from my only daughter.

Matheus pondered which deity he'd annoyed in a previous life. Maybe if he figured out which sacrifices he'd skipped, he could make amends. Did they sell goats at the farmer's market? Matheus wrinkled his nose. He didn't want to leave the city, not to mention the issue of travelling with a goat. People frowned on sticking farm animals in the trunk. What if he got a rack of lamp and chanted over that? Sheep were kind of like goats.

The people came out of their houses and smelled the hot stinging air and covered their noses from it. And the children came out of the houses, but they did not run or shout as they would have done after a rain. Men stood by their fences and looked at the ruined corn, drying fast now, only a little green showing through the film of dust. The men were silent and they did not move often. And the women came out of the houses to stand beside their men - to feel whether this time the men would break. The women studied the men's faces secretly, for the corn could go, as long as something else remained. The children stood near by drawing figures in the dust with bare toes, and the children sent exploring senses out to see whether men and women would break. The children peeked at the faces of the men and women, and then drew careful lines in the dust with their toes. Horses came to the watering troughs and nuzzled the water to clear the surface dust. After a while the faces of the watching men lost their bemused perplexity and became hard and angry and resistant. Then the women knew that they were safe and that there was no break. Then they asked, Whta'll we do? And the men replied, I don't know. but it was all right. The women knew it was all right, and the watching children knew it was all right. Women and children knew deep in themselves that no misfortune was too great to bear if their men were whole. The women went into the houses to their work, and the children began to play, but cautiously at first. As the day went forward the sun became less red. It flared down on the dust-blanketed land. The men sat in the doorways of their houses; their hands were busy with sticks and little rocks. The men sat still - thinking - figuring.

To pragmatists, the letter Z is nothing more than a phonetically symbolic glyph, a minor sign easily learned, readily assimilated, and occasionally deployed in the course of a literate life. To cynics, Z is just an S with a stick up its butt. Well, true enough, any word worth repeating is greater than the sum of its parts; and the particular word-part Z can, from a certain perspective, appear anally wired. On those of us neither prosaic nor jaded, however, those whom the Fates have chosen to monitor such things, Z has had an impact above and beyond its signifying function. A presence in its own right, it’s the most distant and elusive of our twenty-six linguistic atoms; a mysterious, dark figure in an otherwise fairly innocuous lineup, and the sleekest little swimmer ever to take laps in a bowl of alphabet soup. Scarcely a day of my life has gone by when I’ve not stirred the alphabetical ant nest, yet every time I type or pen the letter Z, I still feel a secret tingle, a tiny thrill… Z is a whip crack of a letter, a striking viper of a letter, an open jackknife ever ready to cut the cords of convention or peel the peach of lust. A Z is slick, quick, arcane, eccentric, and always faintly sinister - although its very elegance separates it from the brutish X, that character traditionally associated with all forms of extinction. If X wields a tire iron, Z packs a laser gun. Zap! If X is Mike Hammer, Z is James Bond. If X marks the spot, Z avoids the spot, being too fluid, too cosmopolitan, to remain in one place. In contrast to that prim, trim, self-absorbed supermodel, I, or to O, the voluptuous, orgasmic, bighearted slut, were Z a woman, she would be a femme fatale, the consonant we love to fear and fear to love.

There was a click of high heels in the hall behind us, and a young woman appeared. She was pretty enough, I suspected, but in the tight black dress, black hose, and with her hair slicked back like that, it was sort of threatening. She gave me a slow, cold look and said, "So. I see that you’re keeping low company after all, Ravenius." Ever suave, I replied, "Uh. What?" "’Ah-ree," Thomas said. I glanced at him. He put his hand flat on the top of his head and said, "Do this." I peered at him. He gave me a look. I sighed and put my hand on the top of my head. The girl in the black dress promptly did the same thing and gave me a smile. "Oh, right, sorry. I didn’t realize." "I will be back in one moment," Thomas said, his accent back. "Personal business." "Right," she said, "sorry. I figured Ennui had stumbled onto a subplot." She smiled again, then took her hand off the top of her head, reassumed that cold, haughty expression, and stalked clickety-clack back to the bistro. I watched her go, turned to my brother while we both stood there with our hands flat on top of our heads, elbows sticking out like chicken wings, and said, "What does this mean?" "We’re out of character," Thomas said. "Oh," I said. "And not a subplot." "If we had our hands crossed over our chests," Thomas said, "we’d be invisible." "I missed dinner," I said. I put my other hand on my stomach. Then, just to prove that I could, I patted my head and rubbed my stomach. "Now I’m out of character—and hungry.

A figure barred their way. It hadn’t been there a moment ago but it looked permanent now. It seemed to have been made of snow, three balls of snow piled on one another. It had black dots for eyes. A semi-circle of more dots formed the semblance of a mouth. There was a carrot for the nose. And, for the arms, two twigs. At this distance, anyway. One of them was holding a curved stick. A raven wearing a damp piece of red paper landed on one arm. ‘Bob bob bob?’ it suggested. ‘Merry Solstice? Tweetie tweet? What are you waiting for? Hogswatch?’ The dogs backed away. The snow broke off the snowman in chunks, revealing a gaunt figure in a flapping black robe. Death spat out the carrot. HO. HO. HO.

Where are you?” she shouted. “Don’t you see us?” taunted the woman’s voice. “I thought Hecate chose you for your skill.” Another bout of queasiness churned through Hazel’s gut. On her shoulder, Gale barked and passed gas, which didn’t help. Dark spots floated in Hazel’s eyes. She tried to blink them away, but they only turned darker. The spots consolidated into a twenty-foot-tall shadowy figure looming next to the Doors. The giant Clytius was shrouded in the black smoke, just as she’d seen in her vision at the crossroads, but now Hazel could dimly make out his form—dragon-like legs with ash-colored scales; a massive humanoid upper body encased in Stygian armor; long, braided hair that seemed to be made from smoke. His complexion was as dark as Death’s (Hazel should know, since she had met Death personally). His eyes glinted cold as diamonds. He carried no weapon, but that didn’t make him any less terrifying. Leo whistled. “You know, Clytius…for such a big dude, you’ve got a beautiful voice.” “Idiot,” hissed the woman. Halfway between Hazel and the giant, the air shimmered. The sorceress appeared. She wore an elegant sleeveless dress of woven gold, her dark hair piled into a cone, encircled with diamonds and emeralds. Around her neck hung a pendant like a miniature maze, on a cord set with rubies that made Hazel think of crystallized blood drops. The woman was beautiful in a timeless, regal way—like a statue you might admire but could never love. Her eyes sparkled with malice. “Pasiphaë,” Hazel said. The woman inclined her head. “My dear Hazel Levesque.” Leo coughed. “You two know each other? Like Underworld chums, or—” “Silence, fool.” Pasiphaë’s voice was soft, but full of venom. “I have no use for demigod boys—always so full of themselves, so brash and destructive.” “Hey, lady,” Leo protested. “I don’t destroy things much. I’m a son of Hephaestus.” “A tinkerer,” snapped Pasiphaë. “Even worse. I knew Daedalus. His inventions brought me nothing but trouble.” Leo blinked. “Daedalus…like, the Daedalus? Well, then, you should know all about us tinkerers. We’re more into fixing, building, occasionally sticking wads of oilcloth in the mouths of rude ladies—” “Leo.” Hazel put her arm across his chest. She had a feeling the sorceress was about to turn him into something unpleasant if he didn’t shut up. “Let me take this, okay?

The basic principle of structural analysis, I was explaining, is that the terms of a symbolic system do not stand in isolation—they are not to be thought of in terms of what they 'stand for,' but are defined by their relations to each other. One has to first define the field, and then look for elements in that field that are systematic inversions of each other. Take vampires. First you place them: vampires are stock figures in American horror movies. American horror movies constitute a kind of cosmology, a universe unto themselves. Then you ask: what, within this cosmos, is the opposite of a vampire? The answer is obvious. The opposite of a vampire is a werewolf. On one level they are the same: they are both monsters that can bite you and, biting you, turn you, too, into one of their own kind. In most other ways each is an exact inversion of the other. Vampires are rich. They are typically aristocrats. Werewolves are always poor. Vampires are fixed in space: they have castles or crypts that they have to retreat to during the daytime; werewolves are usually homeless derelicts, travelers, or otherwise on the run. Vampires control other creatures (bats, wolves, humans that they hypnotize or render thralls). Werewolves can't control themselves. Yet—and this is really the clincher in this case—each can be destroyed only by its own negation: vampires, by a stake, a simple sharpened stick that peasants use to construct fences; werewolves, by a silver bullet, something literally made from money.

You could hear the wind in the leaves, and on that wind traveled the screams of the kids on the playground in the distance, the little kids figuring out how to be alive, how to navigate a world that was not built for them by navigating a playground that was. Dad saw me watching the kids and said, "You miss running around like that?" "Sometimes, I guess." But that wasn't what I was thinking about. I was just trying to notice everything: the light on the ruined Ruins, this little kid who could barely walk discovering a stick at the corner of the playground, my indefatigable mother zigzagging mustard across her turkey sandwich, my dad patting his handheld in his pocket and resisting the urge to check it, a guy throwing a Frisbee that his dog kept running under and catching and returning to him. Who am I to say that these things might not be forever? Who is Peter Van Houten to assert as fact the conjecture that our labor is temporary? All I know of heaven and all I know of death is in this park: an elegant universe in ceaseless motion, teeming with ruined ruins and screaming children.

They live beyond the quick ghetto. In hovels. In the shantytown.' He smiled. 'And every night, after the sun's descended, they can crawl safely out from their shacks and shuffle into the town. Stick-figures in rags, leaning against the walls. Exhausted and starving, hands outstretched. Begging.' His voice was soft and vicious. 'Begging for the quick to take pity on them. And every so often one of us will acquiesce, and out of pity and contempt, embarrassed by our soft philanthropy, we'll stand in the eaves of a building and offer up our wrists. And you and your kind will open them, all frantic with hunger and fawning with gratitude, and take a few eager swigs, till we decide you've had enough and take back our hands while you weep and beg for more, and maybe spew because you've gone without a hit so long your stomach can't handle what it craves, and we leave you lying in the dirt, blissed by your little fix.

We read a good novel not in order to know more people, but in order to know fewer. Instead of the humming swarm of human beings, relatives, customers, servants, postmen, afternoon callers, tradesmen, strangers who tell us the time, strangers who remark on the weather, beggars, waiters, and telegraph-boys--instead of this bewildering human swarm which passes us every day, fiction asks us to follow one figure (say the postman) consistently through his ecstasies and agonies. That is what makes one impatient with that type of pessimistic rebel who is always complaining of the narrowness of his life and demanding a larger sphere. Life is too large for us as it is: we have all too many things to attend to. All true romance is an attempt to simplify it, to cut it down to plainer and more pictorial proportions. What dullness there is in our life arises mostly from its rapidity; people pass us too quickly to show us their interesting side. By the end of the week we have talked to a hundred bores; whereas, if we had stuck to one of them, we might have found ourselves talking to a new friend, or a humorist, or a murderer, or a man who had seen a ghost.

Ultimately, the roast turkey must be regarded as a monument to Boomer's love. Look at it now, plump and glossy, floating across Idaho as if it were a mammoth, mutated seed pod. Hear how it backfires as it passes the silver mines, perhaps in tribute to the origin of the knives and forks of splendid sterling that a roast turkey and a roast turkey alone possesses the charisma to draw forth into festivity from dark cupboards. See how it glides through the potato fields, familiarly at home among potatoes but with an air of expectation, as if waiting for the flood of gravy. The roast turkey carries with it, in its chubby hold, a sizable portion of our primitive and pagan luggage. Primitive and pagan? Us? We of the laser, we of the microchip, we of the Union Theological Seminary and Time magazine? Of course. At least twice a year, do not millions upon millions of us cybernetic Christians and fax machine Jews participate in a ritual, a highly stylized ceremony that takes place around a large dead bird? And is not this animal sacrificed, as in days of yore, to catch the attention of a divine spirit, to show gratitude for blessings bestowed, and to petition for blessings coveted? The turkey, slain, slowly cooked over our gas or electric fires, is the central figure at our holy feast. It is the totem animal that brings our tribe together. And because it is an awkward, intractable creature, the serving of it establishes and reinforces the tribal hierarchy. There are but two legs, two wings, a certain amount of white meat, a given quantity of dark. Who gets which piece; who, in fact, slices the bird and distributes its limbs and organs, underscores quite emphatically the rank of each member in the gathering. Consider that the legs of this bird are called 'drumsticks,' after the ritual objects employed to extract the music from the most aboriginal and sacred of instruments. Our ancestors, kept their drums in public, but the sticks, being more actively magical, usually were stored in places known only to the shaman, the medicine man, the high priest, of the Wise Old Woman. The wing of the fowl gives symbolic flight to the soul, but with the drumstick is evoked the best of the pulse of the heart of the universe. Few of us nowadays participate in the actual hunting and killing of the turkey, but almost all of us watch, frequently with deep emotion, the reenactment of those events. We watch it on TV sets immediately before the communal meal. For what are footballs if not metaphorical turkeys, flying up and down a meadow? And what is a touchdown if not a kill, achieved by one or the other of two opposing tribes? To our applause, great young hungers from Alabama or Notre Dame slay the bird. Then, the Wise Old Woman, in the guise of Grandma, calls us to the table, where we, pretending to be no longer primitive, systematically rip the bird asunder. Was Boomer Petaway aware of the totemic implications when, to impress his beloved, he fabricated an outsize Thanksgiving centerpiece? No, not consciously. If and when the last veil dropped, he might comprehend what he had wrought. For the present, however, he was as ignorant as Can o' Beans, Spoon, and Dirty Sock were, before Painted Stick and Conch Shell drew their attention to similar affairs. Nevertheless, it was Boomer who piloted the gobble-stilled butterball across Idaho, who negotiated it through the natural carving knives of the Sawtooth Mountains, who once or twice parked it in wilderness rest stops, causing adjacent flora to assume the appearance of parsley.

Bliss?” I called. “Yeah?” “Check the drawers of the nightstand! She was playing with it in the middle of the night, and I think I remember taking it away and sticking it in there.” “Okay!” Through the open door, I watched her circle around the edge of the bed. I walked in place for a few seconds, letting my feet drop a little heavier than necessary, then opened and closed the door like I’d gone back inside the bathroom. Then I hid in the space between the back of the bedroom door and the wall where I could just see through the crack between the hinges. She pulled open the top drawer, and my heartbeat was like a bass drum. I don’t know when it had started beating so hard, but now it was all that I could hear. It wasn’t like I was asking her to marry me now. I just knew Bliss, and knew she tended to panic. I was giving her a very big, very obvious hint so that she’d have time to adjust before I actually asked her. Then in a few months, when I thought she’d gotten used to the idea, I’d ask her for real. That was the plan anyway. It was supposed to be simple, but this felt… complicated. Suddenly, I thought of all the thousands of ways this could go wrong. What if she freaked out? What if she ran like she did our first night together? If she ran, would she go back to Texas? Or would she go to Cade who lived in North Philly? He’d let her stay until she figured things out, and then what if something developed between them? What if she just flat out told me no? Everything was good right now. Perfect, actually. What if I was ruining it by pulling this stunt? I was so caught up in my doomsday predictions that I didn’t even see the moment that she found the box. I heard her open it though, and I heard her exhale and say, “Oh my God.” Where before my mouth had been dry, now I couldn’t swallow fast enough. My hands were shaking against the door. She was just standing there with her back to me. I couldn’t see her face. All I could see was her tense, straight spine. She swayed slightly. What if she passed out? What if I’d scared her so much that she actually lost consciousness? I started to think of ways to explain it away. I was keeping it for a friend? It was a prop for a show? It was… It was… shit, I didn’t know. I could just apologize. Tell her I knew it was too fast. I waited for her to do something—scream, run, cry, faint. Anything would be better than her stillness. I should have just been honest with her. I wasn’t good at things like this. I said what I was thinking—no plans, no manipulation. Finally, when I thought my body would crumble under the stress alone, she turned. She faced the bed, and I only got her profile, but she was biting her lip. What did that mean? Was she just thinking? Thinking of a way to get out of it? Then, slowly, like the sunrise peeking over the horizon, she smiled. She snapped the box closed. She didn’t scream. She didn’t run. She didn’t faint. There might have been a little crying. But mostly… she danced. She swayed and jumped and smiled the same way she had when the cast list was posted for Phaedra. She lost herself the same way she did after opening night, right before we made love for the first time. Maybe I didn’t have to wait a few months after all. She said she wanted my best line tomorrow after the show, and now I knew what it was going to be.

Why do we bury our dead?” His nose was dented in at the bridge like a sphinx; the cause of which I could only imagine had been a freak archaeological accident. I thought about my parents. They had requested in their will that they be buried side by side in a tiny cemetery a few miles from our house. “Because it’s respectful?” He shook his head. “That’s true, but that’s not the reason we do it.” But that was the reason we buried people, wasn’t it? After gazing at him in confusion, I raised my hand, determined to get the right answer. “Because leaving people out in the open is unsanitary.” Mr. B. shook his head and scratched the stubble on his neck. I glared at him, annoyed at his ignorance and certain that my responses were correct. “Because it’s the best way to dispose of a body?” Mr. B. laughed. “Oh, but that’s not true. Think of all the creative ways mass murderers have dealt with body disposal. Surely eating someone would be more practical than the coffin, the ceremony, the tombstone.” Eleanor grimaced at the morbid image, and the mention of mass murderers seemed to wake the rest of the class up. Still, no one had an answer. I’d heard Mr. B. was a quack, but this was just insulting. How dare he presume that I didn’t know what burials meant? I’d watched them bury my parents, hadn’t I? “Because that’s just what we do,” I blurted out. “We bury people when they die. Why does there have to be a reason for everything?” “Exactly!” Mr. B. grabbed the pencil from behind his ear and began gesticulating with it. “We’ve forgotten why we bury people. “Imagine you’re living in ancient times. Your father dies. Would you randomly decide to put him inside a six-sided wooden box, nail it shut, then bury it six feet below the earth? These decisions aren’t arbitrary, people. Why a six-sided box? And why six feet below the earth? And why a box in the first place? And why did every society throughout history create a specific, ritualistic way of disposing of their dead?” No one answered. But just as Mr. B. was about to continue, there was a knock on the door. Everyone turned to see Mrs. Lynch poke her head in. “Professor Bliss, the headmistress would like to see Brett Steyers in her office. As a matter of urgency.” Professor Bliss nodded, and Brett grabbed his bag and stood up, his chair scraping against the floor as he left. After the door closed, Mr. B. drew a terrible picture of a mummy on the board, which looked more like a hairy stick figure. “The Egyptians used to remove the brains of their dead before mummification. Now, why on earth would they do that?” There was a vacant silence. “Think, people! There must be a reason. Why the brain? What were they trying to preserve?” When no one answered, he answered his own question. “The mind!” he said, exasperated. “The soul!” As much as I had planned on paying attention and participating in class, I spent the majority of the period passing notes with Eleanor. For all of his enthusiasm, Professor Bliss was repetitive and obsessed with death and immortality. When he faced the board to draw the hieroglyphic symbol for Ra, I read the note Eleanor had written me. Who is cuter? A. Professor Bliss B. Brett Steyers C. Dante Berlin D. The mummy I laughed. My hand wavered between B and C for the briefest moment. I wasn’t sure if you could really call Dante cute. Devastatingly handsome and mysterious would be the more appropriate description. Instead I circled option D. Next to it I wrote Obviously! and tossed it onto her desk when no one was looking.

Anglo-Saxon Protestant, otherwise known as WASP, and American Black is always on the bottom, and what’s in the middle depends on time and place. (Or as that marvelous rhyme goes: if you’re white, you’re all right; if you’re brown, stick around; if you’re black, get back!) Americans assume that everyone will get their tribalism. But it takes a while to figure it all out. So in undergrad, we had a visiting speaker and a classmate whispers to another, “Oh my God, he looks so Jewish,” with a shudder, an actual shudder. Like Jewish was a bad thing. I didn’t get it. As far as I could see, the man was white, not much different from the classmate herself. Jewish to me was something vague, something biblical. But I learned quickly. You see, in America’s ladder of races, Jewish is white but also some rungs below white. A bit confusing, because I knew this straw-haired, freckled girl who said she was Jewish. How can Americans tell who is Jewish? How did the classmate know the guy was Jewish? I read somewhere how American colleges used to ask applicants for their mother’s surnames, to make sure they weren’t Jewish because they wouldn’t admit Jewish people. So maybe that’s how to tell? From people’s names? The longer you are here, the more you start to get it.

I can’t help but be attracted to pregnant women. Unless they’re malnourished. I’ll see a malnourished pregnant woman on the subway sometimes, big in the belly but with stick-figure arms and hair like a rat’s, and I want to buy her a space heater. I want to yell at her parents. I remember going up to this real malnourished-looking pregnant lady on the G train one time and asking her if she’d like a free dinner at Junior’s. She couldn’t believe I was trying to pick her up on the G train, a pregnant woman with a ring on her finger. I hadn’t noticed the ring. It was one hell of a big ring. I tried to convince her that I wasn’t trying to pick her up. I offered to give her fifty bucks for cooking oil. That just made matters worse. Turns out she was a famous model. I’ve seen her on billboards.

We go quiet as the next episode picks up exactly where it left off. Antoine manages to subdue Marie-Thérèse, and the two proceed to argue for ten minutes. Don’t ask me about what, because it’s in French, but I do notice that the same word—héritier—keeps popping up over and over again during their fight. “Okay, we need to look up that word,” I say in aggravation. “I think it’s important.” Allie grabs her cell phone and swipes her finger on the screen. I peek over her shoulder as she pulls up a translation app. “How do you think you spell it?” she asks. We get the spelling wrong three times before we finally land on a translation that makes sense: heir. “Oh!” she exclaims. “They’re talking about the father’s will.” “Shit, that’s totally it. She’s pissed off that Solange inherited all those shares of Beauté éternelle.” We high five at having figured it out, and in the moment our palms meet, pure clarity slices into me and I’m able to grasp precisely what my life has become. With a growl, I snatch the remote control and hit stop. “Hey, it’s not over yet,” she objects. “Allie.” I draw a steady breath. “We need to stop now. Before my balls disappear altogether and my man-card is revoked.” One blond eyebrow flicks up. “Who has the power to revoke it?” “I don’t know. The Man Council. The Stonemasons. Jason Statham. Take your pick.” “So you’re too much of a manly man to watch a French soap opera?” “Yes.” I chug the rest of my margarita, but the salty flavor is another reminder of how low I’ve sunk. “Jesus Christ. And I’m drinking margaritas. You’re bad for my rep, baby doll.” I shoot her a warning look. “Nobody can ever know about this.” “Ha. I’m going to post it all over the Internet. Guess what, folks—Dean Sebastian Kendrick Heyward-Di Laurentis is over at my place right now watching soaps and drinking girly drinks.” She sticks her tongue out at me. “You’ll never get laid again.” She’s right about that. “Can you at least add that the night ended with a blowjob?” I grumble. “Because then everyone will be like, oh, he suffered through all that so he could get his pole waxed.” “Your pole waxed? That’s such a gross description.” But her eyes are bright and she’s laughing as she says it.

He sat down among the evidence at a barren communal desk in the basement of the station. He looked through the stack of extra fliers that my father had made up. He had memorized my face, but still he looked at them. He had come to believe that the best hope in my case might be the recent rise in development in the area. With all the land churning and changing, perhaps other clues whould be found that would provide the answer he needed. In the bottom of the box was the bag with my jingle-bell hat. When he'd handled it to my mother, she had collasped on the rug. He still couldn't pinpoint the moment he'd fallen in love with her. I knew it was the day he'd sat in our family room while my mother drew stick figures on butcher paper and Buckley and Nate slept toe to toe on the couch. I felt sorry for him. He had tried to solve my murder and he failed. He had tried to love my mother and he had failed. Len looked at the drawing of the cornfield that Lindsey had stolen and forced himself to acknowledge this: in his cautiousness, he had allowed a murderer to get away. He could not shake his guilt. He knew, if no one else did, that by being with my mother in the mall that day he was the one to blame for George Harvey's freedom. He took his wallet out of his back pocket and laid down the photos of all the unsolved cases he had ever worked on. Among them were his wife's. He turned them all face-down. 'Gone,' he wrote on each one of them. He would no longer wait for a date to mark an understanding of who or why or how. He would never understand all the reasons why his wife had killed herself. He would never understand how so many children went missing. He placed these photos in the box with my evidence and turned the lights off in the cold room.

At least once a week, if not once a day, we might each ponder what cosmic truths lie undiscovered before us, perhaps awaiting the arrival of a clever thinker, an ingenious experiment, or an innovative space mission to reveal them. We might further ponder how those discoveries may one day transform life on Earth. Absent such curiosity, we are no different from the provincial farmer who expresses no need to venture beyond the county line, because his forty acres meet all his needs. Yet if all our predecessors had felt that way, the farmer would instead be a cave dweller, chasing down his dinner with a stick and a rock. During our brief stay on planet Earth, we owe ourselves and our descendants the opportunity to explore—in part because it’s fun to do. But there’s a far nobler reason. The day our knowledge of the cosmos ceases to expand, we risk regressing to the childish view that the universe figuratively and literally revolves around us. In that bleak world, arms-bearing, resource-hungry people and nations would be prone to act on their “low contracted prejudices.” And that would be the last gasp of human enlightenment—until the rise of a visionary new culture that could once again embrace, rather than fear, the cosmic perspective.

The Hunchback in the Park The hunchback in the park A solitary mister Propped between trees and water From the opening of the garden lock That lets the trees and water enter Until the Sunday sombre bell at dark Eating bread from a newspaper Drinking water from the chained cup That the children filled with gravel In the fountain basin where I sailed my ship Slept at night in a dog kennel But nobody chained him up. Like the park birds he came early Like the water he sat down And Mister they called Hey mister The truant boys from the town Running when he had heard them clearly On out of sound Past lake and rockery Laughing when he shook his paper Hunchbacked in mockery Through the loud zoo of the willow groves Dodging the park keeper With his stick that picked up leaves. And the old dog sleeper Alone between nurses and swans While the boys among willows Made the tigers jump out of their eyes To roar on the rockery stones And the groves were blue with sailors Made all day until bell time A woman figure without fault Straight as a young elm Straight and tall from his crooked bones That she might stand in the night After the locks and chains All night in the unmade park After the railings and shrubberies The birds the grass the trees the lake And the wild boys innocent as strawberries Had followed the hunchback To his kennel in the dark.

Well,” I said, trying to keep my tone light as I walked over to put my arms around his neck, though I had to stand on my toes to do so. “That wasn’t so bad, was it? You told me something about yourself that I didn’t know before-that you didn’t, er, care for your family, except for your mother. But that didn’t make me hate you…it made me love you a bit more, because now I know we have even more in common.” He stared down at him, a wary look in his eyes. “If you knew the truth,” he said, “you wouldn’t be saying that. You’d be running.” “Where would I go?” I asked, with a laugh I hoped didn’t sound as nervous to him as it did to me. “You bolted all the doors, remember? Now, since you shared something I didn’t know about you, may I share something you don’t know about me?” Those dark eyebrows rose as he pulled me close. “I can’t even begin to imagine what this could be.” “It’s just,” I said, “that I’m a little worried about rushing into this consort thing…especially the cohabitation part.” “Cohabitation?” he echoed. He was clearly unfamiliar with the word. “Cohabitation means living together,” I explained, feeling my cheeks heat up. “Like married people.” “You said last night that these days no one your age thinks of getting married,” he said, holding me even closer and suddenly looking much more eager to stick around for the conversation, even though I heard the marina horn blow again. “And that your father would never approve it. But if you’ve changed your mind, I’m sure I could convince Mr. Smith to perform the ceremony-“ “No,” I said hastily. Of course Mr. Smith was somehow authorized to marry people in the state of Florida. Why not? I decided not to think about that right now, or how John had come across this piece of information. “That isn’t what I meant. My mom would kill me if I got married before I graduated from high school.” Not, of course, that my mom was going to know about any of this. Which was probably just as well, since her head would explode at the idea of my moving in with a guy before I’d even applied to college, let alone at the fact that I most likely wasn’t going to college. Not that there was any school that would have accepted me with my grades, not to mention my disciplinary record. “What I meant was that maybe we should take it more slowly,” I explained. “The past couple years, while all my friends were going out with boys, I was home, trying to figure out how this necklace you gave me worked. I wasn’t exactly dating.” “Pierce,” he said. He wore a slightly quizzical expression on his face. “Is this the thing you think I didn’t know about you? Because for one thing, I do know it, and for another, I don’t understand why you think I’d have a problem with it.” I’d forgotten he’d been born in the eighteen hundreds, when the only time proper ladies and gentlemen ever spent together before they were married was at heavily chaperoned balls…and that for most of the past two centuries, he’d been hanging out in a cemetery. Did he even know that these days, a lot of people hooked up on first dates, or that the average age at which girls-and boys as well-lost their virginity in the United States was seventeen…my age? Apparently not. “What I’m trying to say,” I said, my cheeks burning brighter, “is that I’m not very experienced with men. So this morning when I woke up and found you in bed beside me, while it was really, super nice-don’t get me wrong, I enjoyed it very much-it kind of freaked me out. Because I don’t know if I’m ready for that kind of thing yet.” Or maybe the problem was that I wasn’t prepared for how ready I was…

Lucifer snapped his fingers and froze them. He didn’t really care what they did to each other, but he’d spent several months in the wild capturing the beast he’d turned into a desk. “Children, children,” he said tucking his hands behind his back and adopting his father figure mode. It usually made his daughter, Muriel, laugh. “Must I remind you that I tasked you with a mission. One that I might add, Ysabel, you should be most eager to complete. What I do not need, is for you to FUCK IT UP!” He let his voice increase in treble until it boomed. “I’ve been more than tolerant, but enough is enough. You will cease bringing me your petty squabbles. You will do the job I assigned. And if you don’t want his tongue in your mouth, Ysabel, then bite it off. Although, really, if you enjoyed it so much, I don’t see what the problem is. Maybe he can help you remove the stick up your ass if you let him kiss the other end. Now, if we’re done here, and since I’m boss, and I say we are, leave and don’t come back until you’re done, because if you do, I’m duct taping the pair of you together and throwing you in a dark room until you learn to get along. Or fuck. I don’t really care which, but I prefer the latter so I can watch.

Nora Ephron is a screenwriter whose scripts for Silkwood, When Harry Met Sally, and Sleepless in Seattle have all been nominated for Academy Awards. Ephron started her career as a journalist for the New York Post and Esquire. She became a journalist because of her high school journalism teacher. Ephron still remembers the first day of her journalism class. Although the students had no journalism experience, they walked into their first class with a sense of what a journalist does: A journalists gets the facts and reports them. To get the facts, you track down the five Ws—who, what, where, when, and why. As students sat in front of their manual typewriters, Ephron’s teacher announced the first assignment. They would write the lead of a newspaper story. The teacher reeled off the facts: “Kenneth L. Peters, the principal of Beverly Hills High School, announced today that the entire high school faculty will travel to Sacramento next Thursday for a colloquium in new teaching methods. Among the speakers will be anthropologist Margaret Mead, college president Dr. Robert Maynard Hutchins, and California governor Edmund ‘Pat’ Brown.” The budding journalists sat at their typewriters and pecked away at the first lead of their careers. According to Ephron, she and most of the other students produced leads that reordered the facts and condensed them into a single sentence: “Governor Pat Brown, Margaret Mead, and Robert Maynard Hutchins will address the Beverly Hills High School faculty Thursday in Sacramento. . .blah, blah, blah.” The teacher collected the leads and scanned them rapidly. Then he laid them aside and paused for a moment. Finally, he said, “The lead to the story is ‘There will be no school next Thursday.’” “It was a breathtaking moment,” Ephron recalls. “In that instant I realized that journalism was not just about regurgitating the facts but about figuring out the point. It wasn’t enough to know the who, what, when, and where; you had to understand what it meant. And why it mattered.” For the rest of the year, she says, every assignment had a secret—a hidden point that the students had to figure out in order to produce a good story.

In the evening we shall be examined on love.” –St. John of the Cross And it won’t be multiple choice, though some of us would prefer it that way. Neither will it be essay, which tempts us to run on when we should be sticking to the point, if not together. In the evening there shall be implications our fear will change to complications. No cheating, we’ll be told, and we’ll try to figure out the cost of being true to ourselves. In the evening when the sky has turned that certain blue, blue of exam books, blue of no more daily evasions, we shall climb the hill as the light empties and park our tired bodies on a bench above the city and try to fill in the blanks. And we won’t be tested like defendants on trial, cross-examined till one of us breaks down, guilty as charged. No, in the evening, after the day has refused to testify, we shall be examined on love like students who don’t even recall signing up for the course and now must take their orals, forced to speak for once from the heart and not off the top of their heads. And when the evening is over and it’s late, the student body asleep, even the great teachers retired for the night, we shall stay up and run back over the questions, each in our own way: what’s true, what’s false, what unknown quantity will balance the equation, what it would mean years from now to look back and know we did not fail.

I would've given up without her - not on you, never on you, but on myself. I suppose I can tell you this now, but I wasn't a very good student. I wasn't smart enough to just get by. I wasn't focused enough in class. I rarely passed exams. I skipped assignments. I was constantly on academic probation. Not that your grandmother would ever know, but at the time, I was thinking of doing what you were later accused of doing: selling all my belongings, sticking out my thumb, and hitchhiking to California to be with the other hippies who had dropped out and tuned in. Everything changed when I met your mother. She made me want things that I had never dreamed of wanting: a steady job, a reliable car, a mortgage, a family. You figured out a long time ago that you got your wanderlust from me. I want you to know that this is what happens when you meet the person you are supposed to spend the rest of your life with: That restless feeling dissolves like butter.

Can you drive it?" "No. I can't drive a stick at all. It's why I took Andy's car and not one of yours." "Oh people, for goodness' sake...move over." Choo Co La Tah pushed past Jess to take the driver's seat. Curious about that, she slid over to make room for the ancient. Jess hesitated. "Do you know what you're doing?" Choo Co La Tah gave him a withering glare. "Not at all. But I figured smoeone needed to learn and no on else was volunteering. Step in and get situated. Time is of the essence." Abigail's heart pounded. "I hope he's joking about that." If not, it would be a very short trip. Ren changed into his crow form before he took flight. Jess and Sasha climbed in, then moved to the compartment behind the seat. A pall hung over all of them while Choo Co La Tah adjusted the seat and mirrors. By all means, please take your time. Not like they were all about to die or anything... She couldn't speak as she watched their enemies rapidly closing the distance between them. This was by far the scariest thing she'd seen. Unlike the wasps and scorpions, this horde could think and adapt. They even had opposable thumbs. Whole different ball game. Choo Co La Tah shifted into gear. Or at least he tried. The truck made a fierce grinding sound that caused jess to screw his face up as it lurched violently and shook like a dog coming in from the rain. "You sure you odn't want me to try?" Jess offered. Choo Co La Tah waved him away. "I'm a little rusty. Just give me a second to get used to it again." Abigail swallowed hard. "How long has it been?" Choo Co La Tah eashed off the clutch and they shuddred forward at the most impressive speed of two whole miles an hour. About the same speed as a limping turtle. "Hmm, probably sometime around nineteen hundred and..." They all waited with bated breath while he ground his way through more gears. With every shift, the engine audibly protested his skills. Silently, so did she. The truck was really moving along now. They reached a staggering fifteen miles an hour. At this rate, they might be able to overtake a loaded school bus... by tomorrow. Or at the very least, the day after that. "...must have been the summer of...hmm...let me think a moment. Fifty-three. Yes, that was it. 1953. The year they came out with color teles. It was a good year as I recall. Same year Bill Gates was born." The look on Jess's and Sasha's faces would have made her laugh if she wasn't every bit as horrified. Oh my God, who put him behind the wheel? Sasha visibly cringed as he saw how close their pursuers were to their bumper. "Should I get out and push?" Jess cursed under his breath as he saw them, too. "I'd get out and run at this point. I think you'd go faster." Choo Co La Tah took their comments in stride. "Now, now, gentlemen. All is well. See, I'm getting better." He finally made a gear without the truck spazzing or the gears grinding.

During all that time I didn't see Willie. I didn't see him again until he announced in the Democratic primary in 1930. But it wasn't a primary. It was hell among the yearlings and the Charge of the Light Brigade and Saturday night in the back room of Casey's saloon rolled into one, and when the dust cleared away not a picture still hung on the walls. And there wasn't any Democratic party. There was just Willie, with his hair in his eyes and his shirt sticking to his stomach with sweat. And he had a meat ax in his hand and was screaming for blood. In the background of the picture, under a purplish tumbled sky flecked with sinister white like driven foam, flanking Willie, one on each side, were two figures, Sadie Burke and a tallish, stooped, slow-spoken man with a sad, tanned face and what they call the eyes of a dreamer. The man was Hugh Miller, Harvard Law School, Lafayette Escadrille, Croix de Guerre, clean hands, pure heart, and no political past. He was a fellow who had sat still for years, and then somebody (Willie Stark) handed him a baseball bat and he felt his fingers close on the tape. He was a man and was Attorney General. And Sadie Burke was just Sadie Burke. Over the brow of the hill, there were, of course, some other people. There were, for instance, certain gentlemen who had been devoted to Joe Harrison, but who, when they discovered there wasn't going to be any more Joe Harrison politically speaking, had had to hunt up a new friend. The new friend happened to be Willie. He was the only place for them to go. They figured they would sign on with Willie and grow up with the country. Willie signed them on all right, and as a result got quite a few votes not of the wool-hat and cocklebur variety. After a while Willie even signed on Tiny Duffy, who became Highway Commissioner and, later, Lieutenant Governor in Willie's last term. I used to wonder why Willie kept him around. Sometimes I used to ask the Boss, "What do you keep that lunk-head for?" Sometimes he would just laugh and say nothing. Sometimes he would say, "Hell, somebody's got to be Lieutenant Governor, and they all look alike." But once he said: "I keep him because he reminds me of something." "What?" "Something I don't ever want to forget," he said. "What's that?" "That when they come to you sweet talking you better not listen to anything they say. I don't aim to forget that." So that was it. Tiny was the fellow who had come in a big automobile and had talked sweet to Willie back when Willie was a little country lawyer.

The formerly absolute distinction between time and eternity in Christian thought--between nunc movens with its beginning and end, and nunc stans, the perfect possession of endless life--acquired a third intermediate order based on this peculiar betwixt-and-between position of angels. But like the Principle of Complementarity, this concord-fiction soon proved that it had uses outside its immediate context, angelology. Because it served as a means of talking about certain aspects of human experience, it was humanized. It helped one to think about the sense, men sometimes have of participating in some order of duration other than that of the nunc movens--of being able, as it were, to do all that angels can. Such are those moments which Augustine calls the moments of the soul's attentiveness; less grandly, they are moments of what psychologists call 'temporal integration.' When Augustine recited his psalm he found in it a figure for the integration of past, present, and future which defies successive time. He discovered what is now erroneously referred to as 'spatial form.' He was anticipating what we know of the relation between books and St. Thomas's third order of duration--for in the kind of time known by books a moment has endless perspectives of reality. We feel, in Thomas Mann's words, that 'in their beginning exists their middle and their end, their past invades the present, and even the most extreme attention to the present is invaded by concern for the future.' The concept of aevum provides a way of talking about this unusual variety of duration-neither temporal nor eternal, but, as Aquinas said, participating in both the temporal and the eternal. It does not abolish time or spatialize it; it co-exists with time, and is a mode in which things can be perpetual without being eternal. We've seen that the concept of aevum grew out of a need to answer certain specific Averroistic doctrines concerning origins. But it appeared quite soon that this medium inter aeternitatem et tempus had human uses. It contains beings (angels) with freedom of choice and immutable substance, in a creation which is in other respects determined. Although these beings are out of time, their acts have a before and an after. Aevum, you might say, is the time-order of novels. Characters in novels are independent of time and succession, but may and usually do seem to operate in time and succession; the aevum co-exists with temporal events at the moment of occurrence, being, it was said, like a stick in a river. Brabant believed that Bergson inherited the notion through Spinoza's duratio, and if this is so there is an historical link between the aevum and Proust; furthermore this durée réelle is, I think, the real sense of modern 'spatial form,' which is a figure for the aevum.

We need a test!" I jump up out of the chair and pat my body down. "Where's my wallet?" "In your pocket," she replies dryly. "I'll be back!" I race out of the house and drive the short distance between Dom's estate and the nearest village. After I find a drug store and buy one of each kind of pregnancy test they have, I race back to my hopefully pregnant wife. "That was fast," she murmurs with a grin. She was still sitting in the lounge chair, sipping her coffee. "Should you be drinking coffee?" I ask. "Let's not get crazy," she responds. I need coffee. "I got one of each kind," I announce and opened the bag, sending small white and blue boxes scattering. "Uh, Caleb, we only need one." "What if we can't figure them out?" I ask and pick one up to examine it. "All of the instructions are in Italian." She laughs hysterically and then stands, wiping her eyes. "It's not funny." "Yes, it is. Pregnancy tests are pretty universal, Caleb. You pee on it and a line either appears or it doesn't." She rubs my arm sweetly and kisses my shoulder before plucking the box out of my fingers. "I'll be back." "I'm coming with you." I begin to follow her but she turns quickly with her hands out to stop me. "Oh no, you aren't. You are not going to watch me pee on this stick." I scowled down at her and cross my arms over my chest. "I've helped you bathe and dress and every other damn thing when you were hurt. I can handle watching you pee." "Absolutely not." She shakes her head but then leans in and kisses my chin. "But thank you for helping me when I was hurt." She turns and runs for the bathroom and it feels like an eternity before she comes back out, white stick in her hand. "Well?" I ask. "It takes about three minutes, babe." She sits in the lounge chair and stares out over the vineyard.

Gregori stepped away from the huddled mass of tourists, putting distance between himself and the guide. He walked completely erect,his head high, his long hair flowing around him. His hands were loose at his sides, and his body was relaxed, rippling with power. "Hear me now, ancient one." His voice was soft and musical, filling the silence with beauty and purity. "You have lived long in this world, and you weary of the emptiness. I have come in anwer to your call." "Gregori.The Dark One." The evil voice hissed and growled the words in answer. The ugliness tore at sensitive nerve endings like nails on a chalkboard. Some of the tourists actually covered their ears. "How dare you enter my city and interfere where you have no right?" "I am justice,evil one. I have come to set your free from the bounaries holding you to this place." Gregori's voice was so soft and hypnotic that those listening edged out from their sanctuaries.It beckoned and pulled, so that none could resist his every desire. The black shape above their head roiled like a witch's cauldron. A jagged bolt of lightning slammed to earth straight toward the huddled group. Gregori raised a hand and redirected the force of energy away from the tourists and Savannah. A smile edged the cruel set of his mouth. "You think to mock me with display,ancient one? Do not attempt to anger what you do not understand.You came to me.I did not hunt you.You seek to threaten my lifemate and those I count as my friends.I can do no other than carry the justice of our people to you." Gregori's voice was so reasonable, so perfect and pure,drawing obedience from the most recalcitrant of criminals. The guide made a sound,somewhere between disbelief and fear.Gregori silenced him with a wave of his hand, needing no distractions. But the noise had been enough for the ancient one to break the spell Gregori's voice was weaving around him. The dark stain above their heads thrashed wildly, as if ridding itself ot ever-tightening bonds before slamming a series of lightning strikes at the helpless mortals on the ground. Screams and moans accompanied the whispered prayers, but Gregori stood his ground, unflinching. He merely redirected the whips of energy and light, sent them streaking back into the black mass above their heads.A hideous snarl,a screech of defiance and hatred,was the only warning before it hailed. Hufe golfball-sized blocks of bright-red ice rained down toward them. It was thick and horrible to see, the shower of frozen blood from the skies. But it stopped abruptly, as if an unseen force held it hovering inches from their heads. Gregori remained unchanged, impassive, his face a blank mask as he shielded the tourists and sent the hail hurtling back at their attacker.From out of the cemetery a few blocks from them, an army of the dead rose up. Wolves howled and raced along beside the skeletons as they moved to intercept the Carpathian hunter. Savannah. He said her name once, a soft brush in her mind. I've got it, she sent back instantly.Gregori had his hands full dealing with the abominations the vampire was throwing at him; he did't need to waste his energy protecting the general public from the apparition. She moved out into the open, a small, fragile figure, concentrating on the incoming threat. To those dwelling in the houses along the block and those driving in their cars, she masked the pack of wolves as dogs racing down the street.The stick=like skeletons, grotesque and bizarre, were merely a fast-moving group of people. She held the illusion until they were within a few feet of Gregori.Dropping the illusion, she fed every ounce of her energy and power to Gregori so he could meet the attack.

Subject: Some boat Alex, I know Fox Mulder. My mom watched The X-Files. She says it was because she liked the creepy store lines. I think she liked David Duchovny. She tried Californication, but I don't think her heart was in it. I think she was just sticking it to my grandmother, who has decided it's the work of the devil. She says that about most current music,too, but God help anyone who gets between her and American Idol. The fuzzy whale was very nice, it a little hard to identify. The profile of the guy between you and the whale in the third pic was very familiar, if a little fuzzy. I won't ask. No,no. I have to ask. I won't ask. My mother loves his wife's suits. I Googled. There are sharks off the coast of the Vineyard. Great big white ones. I believe you about the turtle. Did I mention that there are sharks there? I go to Surf City for a week every summer with my cousins. I eat too much ice cream. I play miniature golf-badly. I don't complain about sand in my hot dog buns or sheets. I even spend enough time on the beach to get sand in more uncomfortable places. I do not swim. I mean, I could if I wanted to but I figure that if we were meant to share the water with sharks, we would have a few extra rows of teeth, too. I'll save you some cannoli. -Ella Subject: Shh Fiorella, Yes,Fiorella. I looked it up. It means Flower. Which, when paired with MArino, means Flower of the Sea. What shark would dare to touch you? I won't touch the uncomfortable sand mention, hard as it is to resist. I also will not think of you in a bikini (Note to self: Do not think of Ella in a bikini under any circumstanes. Note from self: Are you f-ing kidding me?). Okay. Two pieces of info for you. One: Our host has an excellent wine cellar and my mother is European. Meaning she doesn't begrudge me the occasional glass. Or four. Two: Our hostess says to thank yur mother very much. Most people say nasty things about her suits. Three: We have a house kinda near Surf City. Maybe I'll be there when your there. You'd better burn this after reading. -Alexai Subect: Happy Thanksgiving Alexei, Consider it burned. Don't worry. I'm not showing your e-mails to anybody. Matter of national security, of course. Well,I got to sit at the adult table. In between my great-great-aunt Jo, who is ninety-three and deaf, and her daughter, JoJo, who had to repeat everyone's conversations across me. Loudly. The food was great,even my uncle Ricky's cranberry lasagna. In fact, it would have been a perfectly good TG if the Eagles han't been playing the Jets.My cousin Joey (other side of the family) lives in Hoboken. His sister married a Philly guy. It started out as a lively across-the-table debate: Jets v. Iggles. It ended up with Joey flinging himself across the table at his brother-in-law and my grandmother saying loud prayers to Saint Bridget. At least I think it was Saint Bridget. Hard to tell. She was speaking Italian. She caught me trying to freeze a half-dozen cannoli. She yelled at me. Apparently, the shells get really soggy when they defrost. I guess you'll have to come have a fresh one when you get back. -F/E

I hope I have now made it clear why I thought it best, in speaking of the dissonances between fiction and reality in our own time, to concentrate on Sartre. His hesitations, retractations, inconsistencies, all proceed from his consciousness of the problems: how do novelistic differ from existential fictions? How far is it inevitable that a novel give a novel-shaped account of the world? How can one control, and how make profitable, the dissonances between that account and the account given by the mind working independently of the novel? For Sartre it was ultimately, like most or all problems, one of freedom. For Miss Murdoch it is a problem of love, the power by which we apprehend the opacity of persons to the degree that we will not limit them by forcing them into selfish patterns. Both of them are talking, when they speak of freedom and love, about the imagination. The imagination, we recall, is a form-giving power, an esemplastic power; it may require, to use Simone Weil's words, to be preceded by a 'decreative' act, but it is certainly a maker of orders and concords. We apply it to all forces which satisfy the variety of human needs that are met by apparently gratuitous forms. These forms console; if they mitigate our existential anguish it is because we weakly collaborate with them, as we collaborate with language in order to communicate. Whether or no we are predisposed towards acceptance of them, we learn them as we learn a language. On one view they are 'the heroic children whom time breeds / Against the first idea,' but on another they destroy by falsehood the heroic anguish of our present loneliness. If they appear in shapes preposterously false we will reject them; but they change with us, and every act of reading or writing a novel is a tacit acceptance of them. If they ruin our innocence, we have to remember that the innocent eye sees nothing. If they make us guilty, they enable us, in a manner nothing else can duplicate, to submit, as we must, the show of things to the desires of the mind. I shall end by saying a little more about La Nausée, the book I chose because, although it is a novel, it reflects a philosophy it must, in so far as it possesses novel form, belie. Under one aspect it is what Philip Thody calls 'an extensive illustration' of the world's contingency and the absurdity of the human situation. Mr. Thody adds that it is the novelist's task to 'overcome contingency'; so that if the illustration were too extensive the novel would be a bad one. Sartre himself provides a more inclusive formula when he says that 'the final aim of art is to reclaim the world by revealing it as it is, but as if it had its source in human liberty.' This statement does two things. First, it links the fictions of art with those of living and choosing. Secondly, it means that the humanizing of the world's contingency cannot be achieved without a representation of that contingency. This representation must be such that it induces the proper sense of horror at the utter difference, the utter shapelessness, and the utter inhumanity of what must be humanized. And it has to occur simultaneously with the as if, the act of form, of humanization, which assuages the horror. This recognition, that form must not regress into myth, and that contingency must be formalized, makes La Nausée something of a model of the conflicts in the modern theory of the novel. How to do justice to a chaotic, viscously contingent reality, and yet redeem it? How to justify the fictive beginnings, crises, ends; the atavism of character, which we cannot prevent from growing, in Yeats's figure, like ash on a burning stick? The novel will end; a full close may be avoided, but there will be a close: a fake fullstop, an 'exhaustion of aspects,' as Ford calls it, an ironic return to the origin, as in Finnegans Wake and Comment c'est. Perhaps the book will end by saying that it has provided the clues for another, in which contingency will be defeated, ...

Okay.First things first. Three things you don't want me to know about you." "What?" I gaped at him. "You're the one who says we don't know each other.So let's cut to the chase." Oh,but this was too easy: 1. I am wearing my oldest, ugliest underwear. 2.I think your girlfriend is evil and should be destroyed. 3.I am a lying, larcenous creature who talks to dead people and thinks she should be your girlfriend once the aforementioned one is out of the picture. I figured that was just about everything. "I don't think so-" "Doesn't have to be embarrassing or major," Alex interrupted me, "but it has to be something that costs a little to share." When I opened my mouth to object again, he pointed a long finger at the center of my chest. "You opened the box,Pandora.So sit." There was a funny-shaped velour chair near my knees. I sat. The chair promptly molded itself to my butt. I assumed that meant it was expensive, and not dangerous. Alex flopped onto the bed,settling on his side with his elbow bent and his head propped on his hand. "Can't you go first?" I asked. "You opened the box..." "Okay,okay. I'm thinking." He gave me about thirty seconds. Then, "Time." I took a breath. "I'm on full scholarship to Willing." One thing Truth or Dare has taught me is that you can't be too proud and still expect to get anything valuable out of the process. "Next." "I'm terrified of a lot things, including lightning, driving a stick shift, and swimming in the ocean." His expression didn't change at all. He just took in my answers. "Last one." "I am not telling you about my underwear," I muttered. He laughed. "I am sorry to hear that. Not even the color?" I wanted to scowl. I couldn't. "No.But I will tell you that I like anchovies on my pizza." "That's supposed to be consolation for withholding lingeries info?" "Not my concern.But you tell me-is it something you would broadcast around the lunchroom?" "Probably not," he agreed. "Didn't think so." I settled back more deeply into my chair. It didn't escape my notice that, yet again, I was feeling very relaxed around this boy. Yet again, it didn't make me especially happy. "Your turn." I thought about my promise to Frankie. I quietly hoped Alex would tell me something to make me like him even a little less. He was ready. "I cried so much during my first time at camp that my parents had to come get me four days early." I never went to camp. It always seemed a little bit idyllic to me. "How old were you?" "Six.Why?" "Why?" I imagined a very small Alex in a Spider-Man shirt, cuddling the threadbare bunny now sitting on the shelf over his computer. I sighed. "Oh,no reason. Next." "I hated Titanic, The Notebook, and Twilight." "What did you think of Ten Things I Hate About You?" "Hey," he snapped. "I didn't ask questions during your turn." "No,you didn't," I agreed pleasantly. "Anser,please." "Fine.I liked Ten Things. Satisfied?" No,actually. "Alex," I said sadly, "either you are mind-bogglingly clueless about what I wouldn't want to know, or your next revelation is going to be that you have an unpleasant reaction to kryptonite." He was looking at me like I'd spoken Swahili. "What are you talking about?" Just call me Lois. I shook my head. "Never mind. Carry on." "I have been known to dance in front of the mirror-" he cringed a little- "to 'Thriller.'" And there it was. Alex now knew that I was a penniless coward with a penchant for stinky fish.I knew he was officially adorable. He pushed himself up off his elbow and swung his legs around until he was sitting on the edge of the bed. "And on that humiliating note, I will now make you translate bathroom words into French." He picked up a sheaf of papers from the floor. "I have these worksheets. They're great for the irregular verbs...

We're in her bedroom,and she's helping me write an essay about my guniea pig for French class. She's wearing soccer shorts with a cashmere sweater, and even though it's silly-looking, it's endearingly Meredith-appropriate. She's also doing crunches. For fun. "Good,but that's present tense," she says. "You aren't feeding Captain Jack carrot sticks right now." "Oh. Right." I jot something down, but I'm not thinking about verbs. I'm trying to figure out how to casually bring up Etienne. "Read it to me again. Ooo,and do your funny voice! That faux-French one your ordered cafe creme in the other day, at that new place with St. Clair." My bad French accent wasn't on purpose, but I jump on the opening. "You know, there's something,um,I've been wondering." I'm conscious of the illuminated sign above my head, flashing the obvious-I! LOVE! ETIENNE!-but push ahead anyway. "Why are he and Ellie still together? I mean they hardly see each other anymore. Right?" Mer pauses, mid-crunch,and...I'm caught. She knows I'm in love with him, too. But then I see her struggling to reply, and I realize she's as trapped in the drama as I am. She didn't even notice my odd tone of voice. "Yeah." She lowers herself slwoly back to the floor. "But it's not that simple. They've been together forever. They're practically an old married couple. And besides,they're both really...cautious." "Cautious?" "Yeah.You know.St. Clair doesn't rock the boat. And Ellie's the same way. It took her ages to choose a university, and then she still picked one that's only a few neighborhoods away. I mean, Parsons is a prestigious school and everything,but she chose it because it was familiar.And now with St. Clair's mom,I think he's afraid to lose anyone else.Meanwhile,she's not gonna break up with him,not while his mom has cancer. Even if it isn't a healthy relationship anymore." I click the clicky-button on top of my pen. Clickclickclickclick. "So you think they're unhappy?" She sighs. "Not unhappy,but...not happy either. Happy enough,I guess. Does that make sense?" And it does.Which I hate. Clickclickclickclick. It means I can't say anything to him, because I'd be risking our friendship. I have to keep acting like nothing has changed,that I don't feel anything ore for him than I feel for Josh.

The stars of the Milky Way galaxy trace a big, flat circle. With a diameter-to-thickness ratio of one thousand to one, our galaxy is flatter than the flattest flapjacks ever made. In fact, its proportions are better represented by a crépe or a tortilla. No, the Milky Way’s disk is not a sphere, but it probably began as one. We can understand the flatness by assuming the galaxy was once a big, spherical, slowly rotating ball of collapsing gas. During the collapse, the ball spun faster and faster, just as spinning figure skaters do when they draw their arms inward to increase their rotation rate. The galaxy naturally flattened pole-to-pole while the increasing centrifugal forces in the middle prevented collapse at midplane. Yes, if the Pillsbury Doughboy were a figure skater, then fast spins would be a high-risk activity. Any stars that happened to be formed within the Milky Way cloud before the collapse maintained large, plunging orbits. The remaining gas, which easily sticks to itself, like a mid-air collision of two hot marshmallows, got pinned at the mid-plane and is responsible for all subsequent generations of stars, including the Sun. The current Milky Way, which is neither collapsing nor expanding, is a gravitationally mature system where one can think of the orbiting stars above and below the disk as the skeletal remains of the original spherical gas cloud. This general flattening of objects that rotate is why Earth’s pole-to-pole diameter is smaller than its diameter at the equator. Not by much: three-tenths of one percent—about twenty-six miles. But Earth is small, mostly solid, and doesn’t rotate all that fast. At twenty-four hours per day, Earth carries anything on its equator at a mere 1,000 miles per hour. Consider the jumbo, fast-rotating, gaseous planet Saturn. Completing a day in just ten and a half hours, its equator revolves at 22,000 miles per hour and its pole-to-pole dimension is a full ten percent flatter than its middle, a difference noticeable even through a small amateur telescope. Flattened spheres are more generally called oblate spheroids, while spheres that are elongated pole-to-pole are called prolate. In everyday life, hamburgers and hot dogs make excellent (although somewhat extreme) examples of each shape. I don’t know about you, but the planet Saturn pops into my mind with every bite of a hamburger I take.

longer; it cannot deceive them too much." Madame Defarge looked superciliously at the client, and nodded in confirmation. "As to you," said she, "you would shout and shed tears for anything, if it made a show and a noise. Say! Would you not?" "Truly, madame, I think so. For the moment." "If you were shown a great heap of dolls, and were set upon them to pluck them to pieces and despoil them for your own advantage, you would pick out the richest and gayest. Say! Would you not?" "Truly yes, madame." "Yes. And if you were shown a flock of birds, unable to fly, and were set upon them to strip them of their feathers for your own advantage, you would set upon the birds of the finest feathers; would you not?" "It is true, madame." "You have seen both dolls and birds to-day," said Madame Defarge, with a wave of her hand towards the place where they had last been apparent; "now, go home!" XVI. Still Knitting Madame Defarge and monsieur her husband returned amicably to the bosom of Saint Antoine, while a speck in a blue cap toiled through the darkness, and through the dust, and down the weary miles of avenue by the wayside, slowly tending towards that point of the compass where the chateau of Monsieur the Marquis, now in his grave, listened to the whispering trees. Such ample leisure had the stone faces, now, for listening to the trees and to the fountain, that the few village scarecrows who, in their quest for herbs to eat and fragments of dead stick to burn, strayed within sight of the great stone courtyard and terrace staircase, had it borne in upon their starved fancy that the expression of the faces was altered. A rumour just lived in the village—had a faint and bare existence there, as its people had—that when the knife struck home, the faces changed, from faces of pride to faces of anger and pain; also, that when that dangling figure was hauled up forty feet above the fountain, they changed again, and bore a cruel look of being avenged, which they would henceforth bear for ever. In the stone face over the great window of the bed-chamber where the murder was done, two fine dints were pointed out in the sculptured nose, which everybody recognised, and which nobody had seen of old; and on the scarce occasions when two or three ragged peasants emerged from the crowd to take a hurried peep at Monsieur the Marquis petrified, a skinny finger would not have pointed to it for a minute, before they all started away among the moss and leaves, like the more fortunate hares who could find a living there. Chateau and hut, stone face and dangling figure, the red stain on the stone floor, and the pure water in the village well—thousands of acres of land—a whole province of France—all France itself—lay under the night sky, concentrated into a faint hair-breadth line. So does a whole world, with all its greatnesses and littlenesses, lie in a twinkling star. And as mere human knowledge can split a ray of light and analyse the manner of its composition, so, sublimer intelligences may read in the feeble shining of this earth of ours, every thought and act, every vice and virtue, of every responsible