Street Style Quotes

The job of feets is walking, but their hobby is dancing.

Prescriptive grammar has spread linguistic insecurity like a plague among English speakers for centuries, numbs us to the aesthetic richness of non-standard speech, and distracts us from attending to genuine issues of linguistic style in writing.

Far from being offended, Mencheres went over and flawlessly executed a street-style handshake complete with finger slaps, fist bumps, and a high-low finale.

Keep The Drama In Your Books, Not Your Life." - The Cartel Publications.

I still don't understand fashion. Why do people dress up in new styles in the first place if they're only going to act all embarrassed and ashamed about them later?

I feel very strongly about putting questions; it partakes too much of the style of the day of judgement. You start a question, and it's like starting a stone. You sit quietly on the top of a hill; and away the stone goes, starting others; and presently some bland old bird (the last you would have thought of) is knocked on the head in his own back garden, and the family have to change their name. No, sir, I make it a rule of mine: the more it looks like Queer Street, the less I ask.

In the shower today I tried to think about the best advice I'd ever been given by another writer. There was something that someone said at my first Milford, about using style as a covering, but sooner or later you would have to walk naked down the street, that was useful... And then I remembered. It was Harlan Ellison about a decade ago. He said, "Hey. Gaiman. What's with the stubble? Every time I see you, you're stubbly. What is it? Some kind of English fashion statement?" "Not really." "Well? Don't they have razors in England for Chrissakes?" "If you must know, I don't like shaving because I have a really tough beard and sensitive skin. So by the time I've finished shaving I've usually scraped my face a bit. So I do it as little as possible." "Oh." He paused. "I've got that too. What you do is, you rub your stubble with hair conditioner. Leave it a couple of minutes, then wash it off. Then shave normally. Makes it really easy to shave. No scraping." I tried it. It works like a charm. Best advice from a writer I've ever received.

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

My least favorite form of street harassment is when a guy asks why I’m not smiling. It’s related to that: Women aren’t allowed to be quiet or stoic or shy—or, hell, just in a bad mood—without being criticized. Women are bitchy and frigid if we don’t seem accessible at all times, for the most part to men. We’re supposed to be perpetually friendly. Who wants to live up to that? And seriously, when was the last time you heard a quiet woman described as “deep”? Men who are serious are just that—serious. Think laconic cowboys and Clint Eastwood-style movie heroes. Strong and silent is a desirable personality trait for men—women, not so much. Because where silence in men is seen as strength, silence in women (if not seen as bitchy) is seen as weakness—she’s shy, a wallflower.

Wall Street, against which the self-styled idealists are battling, is merely a symbol. But the walls of the Soviet prisons within which all dissenters disappear forever are a hard fact.

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

I am the shee-it,” the adolescent said in a singsong voice. Then he swung around, smirking at the nearly five-thousand-year-old Egyptian vampire. “Who’s your daddy, M?” Far from being offended, Mencheres went over and flawlessly executed a street-style handshake complete with finger slaps, fist bumps, and a high-low finale. “You are the shit,” he solemnly agreed

This has been a novel about some people who were punished entirely too much for what they did. They wanted to have a good time, but they were like children playing in the street; they could see one after another of them being killed--run over, maimed, destroyed--but they continued to play anyhow. We really all were very happy for a while, sitting around not toiling but just bullshitting and playing, but it was for such a terrible brief time, and then the punishment was beyond belief: even when we could see it, we could not believe it. For example, while I was writing this I learned that the person on whom the character Jerry Fabin is based killed himself. My friend on whom I based the character Ernie Luckman died before I began the novel. For a while I myself was one of these children playing in the street; I was, like the rest of them, trying to play instead of being grown up, and I was punished. I am on the list below, which is a list of those to whom this novel is dedicated, and what became of each. Drug misuse is not a disease, it is a decision, like the decision to step out in front of a moving car. You would call that not a disease but an error in judgment. When a bunch of people begin to do it, it is a social error,a life-style. In this particular life-style the motto is "Be happy now because tomorrow you are dying," but the dying begins almost at once, and the happiness is a memory. It is, then, only a speeding up, an intensifying, of the ordinary human existence. It is not different from your life-style, it is only faster. It all takes place in days or weeks or months instead of years. "Take the cash and let the credit go," as Villon said in 1460. But that is a mistake if the cash is a penny and the credit a whole lifetime. There is no moral in this novel; it is not bourgeois; it does not say they were wrong to play when they should have toiled;it just tells what the consequences were. In Greek drama they were beginning, as a society, to discover science, which means causal law. Here in this novel there is Nemesis: not fate, because any one of us could have chosen to stop playing in the street, but, as I narrate from the deepest part of my life and heart, a dreadful Nemesis for those who kept on playing. I myself,I am not a character in this novel; I am the novel. So, though, was our entire nation at this time. This novel is about more people than I knew personally. Some we all read about in the newspapers. It was, this sitting around with our buddies and bullshitting while making tape recordings, the bad decision of the decade, the sixties, both in and out of the establishment. And nature cracked down on us. We were forced to stop by things dreadful. If there was any "sin," it was that these people wanted to keep on having a good time forever, and were punished for that, but, as I say, I feel that, if so, the punishment was far too great, and I prefer to think of it only in a Greek or morally neutral way, as mere science, as deterministic impartial cause-and-effect. I loved them all. Here is the list, to whom I dedicate my love: To Gaylene deceased To Ray deceased To Francy permanent psychosis To Kathy permanent brain damage To Jim deceased To Val massive permanent brain damage To Nancy permanent psychosis To Joanne permanent brain damage To Maren deceased To Nick deceased To Terry deceased To Dennis deceased To Phil permanent pancreatic damage To Sue permanent vascular damage To Jerri permanent psychosis and vascular damage . . . and so forth. In Memoriam. These were comrades whom I had; there are no better. They remain in my mind, and the enemy will never be forgiven. The "enemy" was their mistake in playing. Let them all play again, in some other way, and let them be happy.

Every period had its style: why was it that our period was the only one to be denied a style? By “style” was meant ornament. I said, “weep not. Behold! What makes our period so important is that it is incapable of producing new ornament. We have out-grown ornament, we have struggled through to a state without ornament. Behold, the time is at hand, fulfilment awaits us. Soon the streets of the cities will glow like white walls! Like Zion, the Holy City, the capital of heaven. It is then that fulfilment will have come.

His line was the jocundly-sentimental Wardour Street brand of adventure, told in a style that exactly met, but never exceeded, every expectation.

Wall Street billionaires are predicting that Roosevelt-style railroad rate regulation will sooner or later bring about financial catastrophe. [ca. 1906]

She never crosses the street where she's supposed to; she claims it's her rebellious side. People who wait in lines stress her out.

Communities are not built of friends, or of groups of people with similar styles and tastes, or even of people who like and understand each other. They are built of people who feel they are part of something that is bigger than themselves: a shared goal or enterprise, like righting a wrong, or building a road, or raising children, or living honorably, or worshipping a god. To build community requires only the ability to see value in others: to look at them and see a potential partner in one's enterprise.

I hadn't met a lot of openly queer people before. There'd been a crowd of people at school who Pip hung out with with from time to time, but there could only have been about seven or eight of them, max. I don't know what I expected. There was no particular type of person, no particular style or look. But they were all so friendly. There were a few obvious friendship groups, but mostly, people were happy to chat to whoever. They were all just themselves. I don't know how to explain it. There was no pretending. No hiding. No faking. In this little restaurant hidden away in the old streets of Durham, a bunch of queer people could all show up and just be. I don't think I'd understood what that was like until that moment.

Part of the human experience is to confront temptation. No one escapes. It is omnipresent. It is both externally driven and internally prompted. It is like the enemy that attacks from all sides. It boldly assaults us in television shows, movies, billboards, and newspapers in the name of entertainment or free speech. It walks down our streets and sits in our offices in the name of fashion. It drives our roads in the name of style. It represents itself as political correctness or business necessity. It claims moral sanction under the guise of free choice. On occasion it roars like thunder; on others it whispers in subtle, soothing tones. With chameleon-like skill it camouflages its ever-present nature, but it is there--always there.

Back in the "leather and lace" eighties, I was the fantasy editor for a publishing company in New York City. It was a great time to be young and footloose on the streets of Manhattan—punk rock and folk music were everywhere; Blondie, the Eurythmics, Cyndi Lauper, and Prince were all strutting their stuff on the newly created MTV; and the eighties' sense of style meant I could wear my scruffy black leather into the office without turning too many heads. The fantasy field was growing by leaps and bounds, and I was right in the middle of it, working with authors I'd worshiped as a teen, and finding new ones to encourage and publish.

To give you an idea of my state of mind I can not do better than compare it to one of those rooms we see nowadays in which are collected and mingled the furniture of all times and countries. Our age has no impress of its own. We have impressed the seal of our time neither on our houses nor our gardens, nor on anything that is ours. On the street may be seen men who have their beards trimmed as in the time of Henry III, others who are clean-shaven, others who have their hair arranged as in the time of Raphael, others as in the time of Christ. So the homes of the rich are cabinets of curiosities: the antique, the gothic, the style of the Renaissance, that of Louis XIII, all pell-mell. In short, we have every century except our own—a thing which has never been seen at any other epoch: eclecticism is our taste; we take everything we find, this for beauty, that for utility, another for antiquity, still another for its ugliness even, so that we live surrounded by debris, as if the end of the world were at hand.

Paranoia is aggression masked as defense. It was paranoia (and hubris, and greed) that caused the run-up to the Iraq War; it is paranoia that leads to thousands of innocent Muslims being profiled in New York; it is paranoia that led to Trayvon Martin being shot to death on the street. In Congress, paranoia is less a style than a sickness, employed less with flourish than with fear. Paranoia is the refusal to recognize others except as filtered through ourselves—and how do Americans see themselves? Afraid, afraid, afraid.

Every day, soon after lunch, at a time when most people stayed indoors, enjoying a siesta, a dapper little old man stepped out on the balcony on the other side of the street. He had a soldierly bearing, very erect, and affected a military style of dressing; his snow-white hair was always brushed to perfect smoothness. Leaning over the balcony he would call:

You might forget the day you saw a dead body in the street, but the death of Hamlet haunts you forever.

Rachel Ries is a wonderful singer/performer/songwriter who writes her music with a literary and poetic style. In an interview with Amanda Miller for Rumpus Magazine Rachel Ries listed some of her literary influences. You can listen to her perform at this site too, if you've never heard her before. Here is her list in the order she gave them: Al Kennedy – Everything You Need Umberto Eco – Foucault’s Pendulum China Miéville – Perdido Street Station Everything by Tolkien Jeannette Winterson Dostoevsky – The Idiot John Steinbeck – East of Eden Willa Cather – Song of the Lark Diana Gabaldon – Anything Outlander Neil Gaiman – American Gods Victor Hugo – Les Miserables Marilynne Robinson – Housekeeping Justin Cronin – The Passage David Wroblewski - The Story of Edgar Sawtelle

Great style, of course, has less to do with physical beauty than with high intellect. Joan Rivers, who for many years has come to the Solutions department, reinvents herself season to season, which only someone with great intellect can do. She is the definition of multifaceted, moving from QVC to a nightclub in Minneapolis to a program with her daughter at the 92nd Street Y, with the style of her clothes

There’s nothing about me on the jacket because I have no credentials. I majored in English at school, but I only took one creative writing class. I think I got a B. And I never really thought about getting an MFA. I’m too spiteful to take criticism constructively and I’m only comfortable being honest about people behind their backs, so workshops or group critiques were never what I was looking for. For years I just wrote in journals and didn’t really worry about turning any of it into stories or stuff for other people to read, so I guess I developed my writing style by talking to myself, like some homeless people do. Only I used a pen and paper instead of just freaking out on the street. If they switched to a different medium they might be better off. It would probably help if they had someplace to live too.

I never understood why, but the best of girls like gangsters. This was something that was always odd to me. Here, you have fine working girls who are involved with someone who isn’t working, just sitting on the blocks all day with a big gun in his waist. For some girls, they like that. I don’t know why. Scrooge, former leader of the Rebellion Raiders street gang that once boasted of having some ten thousand members

So Eliza walked the path to East Bay Street that summer evening alone, wearing a scoop-neck black dress and her hair in Victory Rolls so that she felt like a dark-haired Ingrid Bergman in that new movie Notorious.

that this was not lack of taste, but something that might be called the taste, and even the style, of S. Street, which could not be found elsewhere--something intentional in its ugliness, not accidental, but elaborated

That became the signature Ice-T style - rhymes that were "topical" and "vividly optical." To me it was street-level journalism, real-life observations told in poetry. That's the vision I tried to bring to all my recordings.

Get over yourself,” Tino barked. “In case you missed the memo, you’re famous now, dickhead. People cross the street to get your autograph. You got two UFC Light-Heavyweight belts. Then, as if that wasn’t enough, you switched weight classes and just killed it like a boss and won a Heavyweight belt too. Me, I look like some asshole from Jersey Shore.” He winced and then added, “Except I have better hair…and better style.” Tino shook his head. “Just completely forget I ever compared myself to them

The hidden master of the Filipino-style Chinese donut is Benito Taganes, proprietor and king of the bubbling vats at Mabuhay. Mabuhay, dark, cramped, invisible from the street, stays open all night long. It drains the bars and cafes after hours, concentrates the wicked and the guilty along its chipped Formica counter, and thrums with the gossip of criminals, policemen, shtarkers and shlemiels, whores and night owls. With the fat applauding in the fryers, the exhaust fans roaring, and the boom box blasting the heartsick kundimans of Benito’s Manila childhood, the clientele makes free with their secrets. A golden mist of kosher oil hangs in the air and baffles the senses. Who could overhear with ears full of KosherFry and the wailing of Diomedes Maturan?

The Rafa Nadal the world saw as he stormed onto the Centre Court lawn for the start of the 2008 Wimbledon final was a warrior, eyes glazed in murderous concentration, clutching his racquet like a Viking his axe. A glance at Federer revealed a striking contrast in styles: the younger player in sleeveless shirt and pirate’s pantaloons, the older one in a cream, gold-embossed cardigan and classic Fred Perry shirt; one playing the part of the street-fighting underdog, the other suave and effortlessly superior.

He belongs to a pugilism club where they batter each other senseless, in the savate style.” “What is that?” “A kind of fighting that developed in the streets of Old Paris. Quite vicious. My brother secretly hopes to be attacked by ruffians someday, but so far, no luck.

A period which suffers from a so-called high general level of liberal education but which is devoid of culture in the sense of a unity of style which characterizes all its life, will not quite know what to do with philosophy and wouldn’t, if the Genius of Truth himself were to proclaim it in the streets and the market places. During such times philosophy remains the learned monologue of the lonely stroller, the accidental loot of the individual, the secret skeleton in the closet, or the harmless chatter between senile academics and children

As the year goes on, certain deputies—and others, high in public life—will appear unshaven, without coat or cravat; or they will jettison these marks of the polite man, when the temperature rises. They affect the style of men who begin their mornings with a splash under a backyard pump, and who stop off at their street-corner bar for a nip of spirits on their way to ten hours’ manual labor. Citizen Robespierre, however, is a breathing rebuke to these men; he retains his buckled shoes, his striped coat of olive green. Can it be the same coat that he wore in the first year of the Revolution? He is not profligate with coats. While Citizen Danton tears off the starched linen that fretted his thick neck, Citizen Saint-Just’s cravat grows ever higher, stiffer, more wonderful to behold. He affects a single earring, but he resembles less a corsair than a slightly deranged merchant banker.

I craved a form of naive realism. I paid special attention, I craned my readerly neck whenever a London street I knew was mentioned, or a style of frock, a real public person, even a make of car. Then, I thought, I had a measure, I could guage the quality of the writing by its accuracy, by the extent to which it aligned with my own impressions, or improved upon them. I was fortunate that most English writing of the time was in the form of undemanding social documentary. I wasn't impressed by those writers (they were spread between South and North America) who infiltrated their own pages as part of the cast, determined to remind poor reader that all the characters and even they themselves were pure inventions and the there was a difference between fiction and life. Or, to the contrary, to insist that life was a fiction anyway. Only writers, I thought, were ever in danger of confusing the two.

the Piggly Wiggly Stores in 1919, had most of the standard traits of the flamboyant American promoters—suspect generosity, a knack for attracting publicity, love of ostentation, and so on—but he also had some much less common traits, notably a remarkably vivid style, both in speech and writing, and a gift, of which he may or may not have been aware, for comedy. But like so many great men before him, he had a weakness, a tragic flaw. It was that he insisted on thinking of himself as a hick, a boob, and a sucker, and, in doing so, he sometimes became all three. This unlikely fellow was the man who engineered

I wished at that moment that the Wests had killed me, it would have been a merciful release from the hell that DC Smith was putting me through. This barrage of questions by DC Smith and his heavy-handedness into this inquiry and his bullying barrack-room interrogation style of interviewing had left me feeling shamed.

Much of what it takes to succeed in school, at work, and in one’s community consists of cultural habits acquired by adaptation to the social environment. Such cultural adaptations are known as “cultural capital.” Segregation leads social groups to form different codes of conduct and communication. Some habits that help individuals in intensely segregated, disadvantaged environments undermine their ability to succeed in integrated, more advantaged environments. At Strive, a job training organization, Gyasi Headen teaches young black and Latino men how to drop their “game face” at work. The “game face” is the angry, menacing demeanor these men adopt to ward off attacks in their crime-ridden, segregated neighborhoods. As one trainee described it, it is the face you wear “at 12 o’clock at night, you’re in the ‘hood and they’re going to try to get you.”102 But the habit may freeze it into place, frightening people from outside the ghetto, who mistake the defensive posture for an aggressive one. It may be so entrenched that black men may be unaware that they are glowering at others. This reduces their chance of getting hired. The “game face” is a form of cultural capital that circulates in segregated underclass communities, helping its members survive. Outside these communities, it burdens its possessors with severe disadvantages. Urban ethnographer Elijah Anderson highlights the cruel dilemma this poses for ghetto residents who aspire to mainstream values and seek responsible positions in mainstream society.103 If they manifest their “decent” values in their neighborhoods, they become targets for merciless harassment by those committed to “street” values, who win esteem from their peers by demonstrating their ability and willingness to insult and physically intimidate others with impunity. To protect themselves against their tormentors, and to gain esteem among their peers, they adopt the game face, wear “gangster” clothing, and engage in the posturing style that signals that they are “bad.” This survival strategy makes them pariahs in the wider community. Police target them for questioning, searches, and arrests.104 Store owners refuse to serve them, or serve them brusquely, while shadowing them to make sure they are not shoplifting. Employers refuse to employ them.105 Or they employ them in inferior, segregated jobs. A restaurant owner may hire blacks as dishwashers, but not as wait staff, where they could earn tips.

Pirate and Osbie Feel are leaning on their roof-ledge, a magnificent sunset across and up the winding river, the imperial serpant, crowds of factories, flats, parks, smoky spires and gables, incandescent sky casting downward across the miles of deep streets and roofs cluttering and sinuous river Thames a drastic strain of burnt orange, to remind a visitor of his mortal transience here, to seal or empty all the doors and windows in sight to his eyes that look only for a bit of company, a word or two in the street before he goes up to the soap-heavy smell of the rented room and the squares of coral sunset on the floor-boards—an antique light, self-absorbed, fuel consumed in the metered winter holocaust, the more distant shapes among the threads or sheets of smoke now perfect ash ruins of themselves, nearer windows, struck a moment by the sun, not reflecting at all but containing the same destroying light, this intense fading in which there is no promise of return, light that rusts the government cars at the curbsides, varnishes the last faces hurrying past the shops in the cold as if a vast siren had finally sounded, light that makes chilled untraveled canals of many streets, and that fills with the starlings of London, converging by millions to hazy stone pedestals, to emptying squares and a great collective sleep. They flow in rings, concentric rings on the radar screens. The operators call them ‘angels.

Many of the poets writing today are hung up on language and symbolism. If the poem does not have depth of meaning or fit a certain academic styles and standards, then it is not poetry. Poetry should relate to the man on the street who has to work for a living. Until poetry connects with the working man, it’s not going to sell; it’s not going to be of value.

A big heavy phrase is easier to handle if it comes at the end, when your work assembling the overarching phrase is done and nothing else is on you mind. (It's another version of the advice to prefer right-branching trees over left-branching and center-embedded ones.) Light-before-heavy is one of the oldest principles in linguistics, having been discovered in the fourth century BCE by the Sanskrit grammarian Panini. It often guides the intuitions of writers when they have to choose an order for items in a list, as in life, liberty, and the pursuit of happiness; The Wild, The Innocent, and the E Street Shuffle; and Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings in a single bound!

The early years of a Bes (and presumably an Ul Qoman) child are intense learnings of cues. We pick up styles of clothing, permissible colours, ways of walking and holding oneself, very fast. Before we were eight or so most of us could be trusted not to breach embarrassingly and illegally, though licence of course is granted children every moment they are in the street.

Speaking to a foreigner was the dream of every student, and my opportunity came at last. When I got back from my trip down the Yangtze, I learned that my year was being sent in October to a port in the south called Zhanjiang to practice our English with foreign sailors. I was thrilled. Zhanjiang was about 75 miles from Chengdu, a journey of two days and two nights by rail. It was the southernmost large port in China, and quite near the Vietnamese border. It felt like a foreign country, with turn-of-the-century colonial-style buildings, pastiche Romanesque arches, rose windows, and large verandas with colorful parasols. The local people spoke Cantonese, which was almost a foreign language. The air smelled of the unfamiliar sea, exotic tropical vegetation, and an altogether bigger world. But my excitement at being there was constantly doused by frustration. We were accompanied by a political supervisor and three lecturers, who decided that, although we were staying only a mile from the sea, we were not to be allowed anywhere near it. The harbor itself was closed to outsiders, for fear of 'sabotage' or defection. We were told that a student from Guangzhou had managed to stow away once in a cargo steamer, not realizing that the hold would be sealed for weeks, by which time he had perished. We had to restrict our movements to a clearly defined area of a few blocks around our residence. Regulations like these were part of our daily life, but they never failed to infuriate me. One day I was seized by an absolute compulsion to get out. I faked illness and got permission to go to a hospital in the middle of the city. I wandered the streets desperately trying to spot the sea, without success. The local people were unhelpful: they did not like non-Cantonese speakers, and refused to understand me. We stayed in the port for three weeks, and only once were we allowed, as a special treat, to go to an island to see the ocean. As the point of being there was to talk to the sailors, we were organized into small groups to take turns working in the two places they were allowed to frequent: the Friendship Store, which sold goods for hard currency, and the Sailors' Club, which had a bar, a restaurant, a billiards room, and a ping-pong room. There were strict rules about how we could talk to the sailors. We were not allowed to speak to them alone, except for brief exchanges over the counter of the Friendship Store. If we were asked our names and addresses, under no circumstances were we to give our real ones. We all prepared a false name and a nonexistent address. After every conversation, we had to write a detailed report of what had been said which was standard practice for anyone who had contact with foreigners. We were warned over and over again about the importance of observing 'discipline in foreign contacts' (she waifi-lu). Otherwise, we were told, not only would we get into serious trouble, other students would be banned from coming.

McDonald’s almost hired me one time, and I only applied for the job to meet younger girls. Black girls, Hispanic, white, and Chinese girls, it says right on the job application how McDonald’s hires different races and ethnic backgrounds. It’s girls, girls, girls, buffet-style. Also on the application McDonald’s says if you have any of the following diseases: Hepatitis A, Salmonella, Shigella, Staphylococcus, Giardia, or Campylobacter, then you may not work there. This is more of a guarantee than you get meeting girls on the street. You can’t be too careful. Al least at McDonald’s she’s gone on the record saying she’s clean. Plus, there’s a very good chance she’s going to be young. Pimple young. Giggling young. Silly young and as stupid as me.

Italy still has a provincial sophistication that comes from its long history as a collection of city states. That, combined with a hot climate, means that the Italians occupy their streets and squares with much greater ease than the English. The resultant street life is very rich, even in small towns like Arezzo and Gaiole, fertile ground for the peeping Tom aspect of an actor’s preparation. I took many trips to Siena, and was struck by its beauty, but also by the beauty of the Siennese themselves. They are dark, fierce, and aristocratic, very different to the much paler Venetians or Florentines. They have always looked like this, as the paintings of their ancestors testify. I observed the groups of young people, the lounging grace with which they wore their clothes, their sense of always being on show. I walked the streets, they paraded them. It did not matter that I do not speak a word of Italian; I made up stories about them, and took surreptitious photographs. I was in Siena on the final day of the Palio, a lengthy festival ending in a horse race around the main square. Each district is represented by a horse and jockey and a pair of flag-bearers. The day is spent by teams of supporters with drums, banners, and ceremonial horse and rider processing round the town singing a strange chanting song. Outside the Cathedral, watched from a high window by a smiling Cardinal and a group of nuns, with a huge crowd in the Cathedral Square itself, the supporters passed, and to drum rolls the two flag-bearers hurled their flags high into the air and caught them, the crowd roaring in approval. The winner of the extremely dangerous horse race is presented with a palio, a standard bearing the effigy of the Virgin. In the last few years the jockeys have had to be professional by law, as when they were amateurs, corruption and bribery were rife. The teams wear a curious fancy dress encompassing styles from the twelfth to the eighteenth centuries. They are followed by gangs of young men, supporters, who create an atmosphere or intense rivalry and barely suppressed violence as they run through the narrow streets in the heat of the day. It was perfect. I took many more photographs. At the farmhouse that evening, after far too much Chianti, I and my friends played a bizarre game. In the dark, some of us moved lighted candles from one room to another, whilst others watched the effect of the light on faces and on the rooms from outside. It was like a strange living film of the paintings we had seen. Maybe Derek Jarman was spying on us.

The formula was the same formula we see in every election: Republicans demonize government, sixties-style activism, and foreigners. Democrats demonize corporations, greed, and the right-wing rabble. Both candidates were selling the public a storyline that had nothing to do with the truth. Gas prices were going up for reasons completely unconnected to the causes these candidates were talking about. What really happened was that Wall Street had opened a new table in its casino. The new gaming table was called commodity index investing. And when it became the hottest new game in town, America suddenly got a very painful lesson in the glorious possibilities of taxation without representation. Wall Street turned gas prices into a gaming table, and when they hit a hot streak we ended up making exorbitant involuntary payments for a commodity that one simply cannot live without. Wall Street gambled, you paid the big number, and what they ended up doing with some of that money you lost is the most amazing thing of all. They got America—you, me, Priscilla Carillo, Robert Lukens—to pawn itself to pay for the gas they forced us to buy in the first place. Pawn its bridges, highways, and airports. Literally sell our sovereign territory. It was a scam of almost breathtaking beauty, if you’re inclined to appreciate that sort of thing.

Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions - trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant show of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, they accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning to the end.

These days most Finns have saunas at home, but some public ones remain. They smell of old pine, tar shampoo and long tradition, with birch whisks and no-nonsense scrubdowns available as extras. Weathered Finnish faces cool down on the street outside, loins wrapped in a towel and hand wrapped around a cold beer. Helsinki and Tampere are the best places for this, while Kuopio’s old-style smoke sauna takes a day to prepare and offers a more rural experience, with a lake to jump into right alongside.

He’d uncovered one of the early subcult melds, the first internet generation to carve their identity from a global menu of counterculture. Style-wise, they borrowed saggy hip-hop gear from West Coast rappers, cartoonish Gyaru makeup from the Japanese cosplay scene, and angular Emo hairstyles from the Washington, DC, post-hard-core crowd. Their attitudes crossed anything-goes California bisexuality with edgy Brit-punk sneer, a combination that led to a completely novel form of rebellion: wet-kissing strangers on the street.

McCain said the lower gas prices were sitting somewhere under the Gulf of Mexico. Obama said they were sitting in the bank accounts of companies like Exxon in the form of windfall profits to be taxed. The formula was the same formula we see in every election: Republicans demonize government, sixties-style activism, and foreigners. Democrats demonize corporations, greed, and the right-wing rabble. Both candidates were selling the public a storyline that had nothing to do with the truth. Gas prices were going up for reasons completely unconnected to the causes these candidates were talking about. What really happened was that Wall Street had opened a new table in its casino. The new gaming table was called commodity index investing. And when it became the hottest new game in town, America suddenly got a very painful lesson in the glorious possibilities of taxation without representation. Wall Street turned gas prices into a gaming table, and when they hit a hot streak we ended up making exorbitant involuntary payments for a commodity that one simply cannot live without.

To be free is to escape restraint. Style becomes manner, introspection breeds narcissism, asserting the self leads to exhibition. Fame decays into celebrity, public presence into publicity, public judgement is a noise in the street. The individual as subject becomes an ego. Yet this egotism, liberated by its illegitimacy from the discipline of family and community, makes a display of what unrestrained talent can attain - inviting others, whatever their birth or position, to do the same. If individualism is a demonic power, it is also a force for democracy.

When two friends meet on the street and talk about the weather, don't we know that theirs isn't a conversation about the weather? What is being said? "I'm your friend. Let's take a minute out of our busy day and stand here in each other's presence and reaffirm that we are indeed friends." They might talk about sports, weather, shopping...anything. But the text is not the subtext. What is said and done is not what is thought and felt. The scene is not about what it seems to be about. Screen dialogue, therefore, must have the swing of everyday talk but content well above normal.

WHAT DOES IT ALL MEAN? The lessons of market history are clear. Styles and fashions in investors’ evaluations of securities can and often do play a critical role in the pricing of securities. The stock market at times conforms well to the castle-in-the-air theory. For this reason, the game of investing can be extremely dangerous. Another lesson that cries out for attention is that investors should be very wary of purchasing today’s hot “new issue.” Most initial public offerings underperform the stock market as a whole. And if you buy the new issue after it begins trading, usually at a higher price, you are even more certain to lose. Investors would be well advised to treat new issues with a healthy dose of skepticism. Certainly investors in the past have built many castles in the air with IPOs. Remember that the major sellers of the stock of IPOs are the managers of the companies themselves. They try to time their sales to coincide with a peak in the prosperity of their companies or with the height of investor enthusiasm for some current fad. In such cases, the urge to get on the bandwagon—even in high-growth industries—produced a profitless prosperity for investors.

Once upon a time there was a child who had a golden brain. His parents only discovered this by chance when he injured his head and gold instead of blood flowed out. They then began to look after him carefully and would not let him play with other children for fear of being robbed. When the boy was grown up and wanted to go out into the world, his mother said: “We have done so much for you,we ought to be able to share your wealth.” Then her son took a large piece of gold out of his brain and gave it to his mother. He lived in great style with a friend who, however, robbed him one night and ran away. After that the man resolved to guard his secret and to go out to work, because his reserves were visibly dwindling. One day he fell in love with a beautiful girl who loved him too, but no more than the beautiful clothes he gave her so lavishly. He married her and was very happy, but after two years she died and he spent the rest of his wealth on her funeral, which had to be splendid. Once, as he was creeping through the streets,weak,poor, and unhappy, he saw a beautiful little pair of boots that would have been perfect for his wife. He forgot that she was dead- perhaps because his emptied brain no longer worked- and entered the shop to buy the boots. But in that very moment he fell, and the shopkeeper saw a dead man lying on the ground. This story sounds as though it were invented, but it is true from beginning to end. There are people who have to pay for the smallest things in life with their very substance and their spinal cord. That is a constantly recurring pain, and then when they are tired of suffering… Does not mother love belong to the ‘smallest’, but also indispensable, things in life, for which many people paradoxically have to pay by giving up their living selves?

San Francisco’s battles are no longer with itself but with the outside world, as it exports the European-style social ideas that drive Republican leaders and Fox News commentators into a frenzy: gay marriage, medical marijuana, universal health care, immigrant sanctuary, “living” minimum wage, bicycle-friendly streets, stricter environmental and consumer regulations. Conservatives see these San Francisco values as examples of social engineering gone mad. But in San Francisco, they’re seen as the bedrock of a decent society, one that is based on a live-and-let-live tolerance, shared sense of humanity, and openness to change.

Do you think anyone found out about that?" B. J. Asks, sounding nervous. "Found out about what?" I ask, trying to imagine why I would say that to my fake girlfriend. Maybe if she asked "Do you think anyone found out about that?" meaning, "Do you think anyone found out about us having sex in my parents' bed?" or something. I hope Courtney is smart enough to infer that that's what is probably going on. I wonder if it would be going too far to actually come out and say, "You mean about the doggie-style we had?" "Found out about the pot we bought!" B. J. Says, sounding exasperated. He's been sounding exasperated with me a lot lately.

Could you recognize a “level” or a “perspective” if you met one on the street? Could you point it out to someone else? What about an approach, an assumption, a concept, a condition, a context, a framework, an issue, a model, a process, a range, a role, a strategy, a tendency, or a variable? These are metaconcepts: concepts about concepts. They serve as a kind of packing material in which academics, bureaucrats, and corporate mouthpieces clad their subject matter. Only when the packaging is hacked away does the object come into view. The phrase on the aspirational level adds nothing to aspire, nor is a prejudice reduction model any more sophisticated than reducing prejudice.

Take one famous example: arguments about property destruction after Seattle. Most of these, I think, were really arguments about capitalism. Those who decried window-breaking did so mainly because they wished to appeal to middle-class consumers to move towards global exchange-style green consumerism, and to ally with labor bureaucracies and social democrats abroad. This was not a path designed to provoke a direct confrontation with capitalism, and most of those who urged us to take this route were at least skeptical about the possibility that capitalism could ever really be defeated. Many were in fact in favor of capitalism, if in a significantly humanized form. Those who did break windows, on the other hand, didn't care if they offended suburban homeowners, because they did not figure that suburban homeowners were likely to ever become a significant element in any future revolutionary anticapitalist coalition. They were trying, in effect, to hijack the media to send a message that the system was vulnerable -- hoping to inspire similar insurrectionary acts on the part of those who might be considering entering a genuinely revolutionary alliance; alienated teenagers, oppressed people of color, undocumented workers, rank-and-file laborers impatient with union bureaucrats, the homeless, the unemployed, the criminalized, the radically discontent. If a militant anticapitalist movement was to begin, in America, it would have to start with people like these: people who don't need to be convinced that the system is rotten, only, that there's something they can do about it. And at any rate, even if it were possible to have an anticapitalist revolution without gun-battles in the streets -- which most of us are hoping it is, since let's face it, if we come up against the US army, we will lose -- there's no possible way we could have an anticapitalist revolution while at the same time scrupulously respecting property rights. Yes, that will probably mean the suburban middle class will be the last to come on board. But they would probably be the last to come on board anyway.

Did you have a kid in your neighborhood who always hid so good, nobody could find him? We did. After a while we would give up on him and go off, leaving him to rot wherever he was. Sooner or later he would show up, all mad because we didn't keep looking for him. And we would get mad back because he wasn't playing the game the way it was supposed to be played. There's hiding and there's finding, we'd say. And he'd say it was hide-and-seek, not hide-and-give-UP, and we'd all yell about who made the rules and who cared about who, anyway, and how we wouldn't play with him anymore if he didn't get it straight and who needed him anyhow, and things like that. Hide-and-seek-and-yell. No matter what, though, the next time he would hide too good again. He's probably still hidden somewhere, for all I know. As I write this, the neighborhood game goes on, and there is a kid under a pile of leaves in the yard just under my window. He has been there a long time now, and everybody else is found and they are about to give up on him over at the base. I considered going out to the base and telling them where he is hiding. And I thought about setting the leaves on fire to drive him out. Finally, I just yelled, "GET FOUND, KID!" out the window. And scared him so bad he probably wet his pants and started crying and ran home to tell his mother. It's real hard to know how to be helpful sometimes. A man I know found out last year he had terminal cancer. He was a doctor. And knew about dying, and he didn't want to make his family and friends suffer through that with him. So he kept his secret. And died. Everybody said how brave he was to bear his suffering in silence and not tell everybody, and so on and so forth. But privately his family and friends said how angry they were that he didn't need them, didn't trust their strength. And it hurt that he didn't say good-bye. He hid too well. Getting found would have kept him in the game. Hide-and-seek, grown-up style. Wanting to hide. Needing to be sought. Confused about being found. "I don't want anyone to know." "What will people think?" "I don't want to bother anyone." Better than hide-and-seek, I like the game called Sardines. In Sardines the person who is It goes and hides, and everybody goes looking for him. When you find him, you get in with him and hide there with him. Pretty soon everybody is hiding together, all stacked in a small space like puppies in a pile. And pretty soon somebody giggles and somebody laughs and everybody gets found. Medieval theologians even described God in hide-and-seek terms, calling him Deus Absconditus. But me, I think old God is a Sardine player. And will be found the same way everybody gets found in Sardines - by the sound of laughter of those heaped together at the end. "Olly-olly-oxen-free." The kids out in the street are hollering the cry that says "Come on in, wherever you are. It's a new game." And so say I. To all those who have hid too good. Get found, kid! Olly-olly-oxen-free.

Contemplation has lost all its dignity of form; we have made a mockery of the ceremonial and solemn bearing of the contemplative person, and would no longer abide a wise man of the old style. We think too hastily while on the go and out and about on all kinds of business, even when engaged in the most serious thought; we require scarcely any preparation or even any quiet – it is as if we had wheels inexorably turning in our heads even under the most adverse circumstances. Formerly one could tell at a glance that a man wanted to think – it was probably the exception – that he now wanted to grow wiser and prepared himself for a thought; indeed, one stood still in the street for hours in case a thought came… Such was the "dignity of the thing"!

An elder sister came from the town to visit her younger sister in the country. This elder sister was married to a merchant and the younger to a peasant in the village. The two sisters sat down for a talk over a cup of tea and the elder started boasting about the superiority of town life, with all its comforts, the fine clothes her children wore, the exquisite food and drink, parties and visits to the theatre. The younger sister resented this and in turn scoffed at the life of a merchant's wife and sang the praise of her own life as a peasant. 'I wouldn't care to change my life for yours,' she said. 'I admit mine is dull, but at least we have no worries. You live in grander style, but you must do a great deal of business or you'll be ruined. You know the proverb, "Loss is Gain's elder brother." One day you are rich and the next you might find yourself out in the street. Here in the country we don't have these ups and downs. A peasant's life may be poor, but it's long. Although we may never be rich, we'll always have enough to eat.' Then the elder sister said her piece. 'Enough to eat but nothing but those filthy pigs and calves! What do you know about nice clothes and good manners! However hard your good husband slaves away you'll spend your lives in the muck and that's where you'll die. And the same goes for your children.' 'Well, what of it?' the younger answered. 'That's how it is here. But at least we know where we are. We don't have to crawl to anyone and we're afraid of no one. But you in town are surrounded by temptations. All may be well one day, the next the Devil comes along and tempts your husband with cards, women and drink. And then you're ruined. It does happen, doesn't it?

Often, when I went out for breakfast on Sunday morning, at the Mediterranean place around the corner, I was seated by a dancer who’d been a year ahead of me at school and waited on by a painter who’d been two years ahead. At night, Don and I could meet Lauren for Thai food, or Leigh and Allison for gin and tonics at the Rat Pack–era bar on Bedford and watch an alternative circus, which involved one college friend of mine eating fire, another clowning in the style of Jacques Lecoq, another riding a unicycle and playing trombone. For me, this was heaven, heaven that could only be improved by Jenny moving in down the street. For Jenny, though, it turned out this was hell. She had cast off such childish things. Heaven was, she told me, eyes shining, driving to a large supermarket and unloading a week’s worth of groceries directly into her apartment from her designated parking spot.

I want to be grateful, and I want to be humble. I want to do my bit to make this world a better place. But I also want to experience it all—devour as much of this life as I possibly can. I want to dress in beautiful things and taste all the gorgeous flavors the world has to offer. I want to dance with the most beautiful man alive, whom I have the luxury to call my own. I want to carefully put on makeup and make my bed neatly every morning, put flowers in my windows and toast the beauty I see. I want to walk down the street feeling like a stunning creature. And I want to nod my head in recognition to all of you other stunning creatures out there. To you who make an effort, who give a damn. To all of you who are grateful and appreciate. And who want to experience it all. This might be shallow—it probably is. I might be shallow—I probably am. But you know what? I’m ok with it.

A lot of us who were from Lizzy in particular, those who were in the front line of leadership, we were not drinkers or smokers. We liked to party and have fun, go to the dance/nightclubs, and we would take our tool [gun]. If we see fellas we had to deal with, then we dealt with them. When you look at it, Scrooge was never a drinker or a smoker. I knew he would drink his Guinness every now and then, but other than that, that was it. Then there was Troit, he never used to drink nor smoke. And I could call off a lot of fellas who never used to drink nor smoke, and yet they were die-hard gangsters. Then he stopped and asked me, Do you used to drink and smoke? I just smiled and answered, No. Satisfied with himself, Apples said with passion, “My point exactly. When we were gangbanging out there, that was our drug. It was the lifestyle itself that got us high. Shelton ‘Apples’ Burrows reform gang leader

COINTELPRO strategy designed to cripple radical organizations by misusing the courts. First, arrests of targeted activists on serious charges carrying potentially long sentences. It was of little importance to the government whether or not they had a legitimate case strong enough to secure a conviction. The point was to silence and immobilize leadership while forcing groups to redirect energy and resources into raising funds, organizing legal defenses, and publicizing these cases. It was a government subversion of the American justice system resulting in drawn-out Soviet-style political show trials that became commonplace in the America of the 1970s: the Chicago Seven, the Panther Twenty-One, etc., etc. Although the overwhelming majority of these cases did not result in convictions,3 government documents show that they were considered great tactical successes. They kept the movements off the streets and in the courts.

I begin this chapter with President Ronald Reagan’s Farewell Speech on January 11, 1989. President Reagan encouraged the rising generation to “let ’em know and nail ’em on it”—that is, to push back against teachers, professors, journalists, politicians, and others in the governing generation who manipulate and deceive them: An informed patriotism is what we want. And are we doing a good enough job teaching our children what America is and what she represents in the long history of the world? Those of us who are over 35 or so years of age grew up in a different America. We were taught, very directly, what it means to be an American. And we absorbed, almost in the air, a love of country and an appreciation of its institutions. If you didn’t get these things from your family, you got them from the neighborhood, from the father down the street who fought in Korea or the family who lost someone at Anzio. Or you could get a sense of patriotism from school. And if all else failed, you could get a sense of patriotism from the popular culture. The movies celebrated democratic values and implicitly reinforced the idea that America was special. TV was like that, too, through the mid-sixties. But now, we’re about to enter the nineties, and some things have changed. Younger parents aren’t sure that an unambivalent appreciation of America is the right thing to teach modern children. And as for those who create the popular culture, well-grounded patriotism is no longer the style. Our spirit is back, but we haven’t reinstitutionalized it. We’ve got to do a better job of getting across that America is freedom—freedom of speech, freedom of religion, freedom of enterprise. And freedom is special and rare. It’s fragile; it needs [protection]. So, we’ve got to teach history based not on what’s in fashion but what’s important—why the Pilgrims came here, who Jimmy Doolittle was, and what those 30 seconds over Tokyo meant. You know, 4 years ago on the 40th anniversary of D-Day, I read a letter from a young woman writing to her late father, who’d fought on Omaha Beach. Her name was Lisa Zanatta Henn, and she said, “We will always remember, we will never forget what the boys of Normandy did.” Well, let’s help her keep her word. If we forget what we did, we won’t know who we are. I’m warning of an eradication of the American memory that could result, ultimately, in an erosion of the American spirit. Let’s start with some basics: more attention to American history and a greater emphasis on civic ritual. And let me offer lesson number one about America: All great change in America begins at the dinner table. So, tomorrow night in the kitchen, I hope the talking begins. And children, if your parents haven’t been teaching you what it means to be an American, let ’em know and nail ’em on it. That would be a very American thing to do.1

But your lolas took offense at being called witches. That is an Amerikano term, they scoff, and that they live in the boroughs of an American city makes no difference to their biases. Mangkukulam was what they styled themselves as, a title still spoken of with fear in their motherland, with its suggestions of strange healing and old-world sorcery. Nobody calls their place along Pepper Street Old Manila, either, save for the women and their frequent customers. It was a carinderia, a simple eatery folded into three food stalls; each manned by a mangkukulam, each offering unusual specialties: Lola Teodora served kare-kare, a healthy medley of eggplant, okra, winged beans, chili peppers, oxtail, and tripe, all simmered in a rich peanut sauce and sprinkled generously with chopped crackling pork rinds. Lola Teodora was made of cumin, and her clients tiptoed into her stall, meek as mice and trembling besides, only to stride out half an hour later bursting at the seams with confidence. But bagoong- the fermented-shrimp sauce served alongside the dish- was the real secret; for every pound of sardines you packed into the glass jars you added over three times that weight in salt and magic. In six months, the collected brine would turn reddish and pungent, the proper scent for courage. unlike the other mangkukulam, Lola Teodora's meal had only one regular serving, no specials. No harm in encouraging a little bravery in everyone, she said, and with her careful preparations it would cause little harm, even if clients ate it all day long. Lola Florabel was made of paprika and sold sisig: garlic, onions, chili peppers, and finely chopped vinegar-marinated pork and chicken liver, all served on a sizzling plate with a fried egg on top and calamansi for garnish. Sisig regular was one of the more popular dishes, though a few had blanched upon learning the meat was made from boiled pigs' cheeks and head.

It was Hitler’s style, his oratorical talents and his remarkable ability to transmit emotions and feelings in his speeches, that took him to the leadership of the ragtag party of misfits and adventurers that he joined in Munich in 1919 and that called itself the German Workers’ Party. The ideas he and the party spouted were all tattered; they were nothing but jargon inherited from the paranoid Austro-German border politics of the pre-1914 era, which saw “Germanness” threatened with inundation by “subject nationalities.” Even the combination “national socialist,” which Hitler added to the party’s name when he became leader in 1920, was borrowed from the same era and same sources. It was not the substance—there was no substance to the frantic neurotic tirades—that allowed the party to survive and later to grow. It was the style and the mood. It was above all the theater, the vulgar “art,” the grand guignol productions of the beer halls and the street.

We've known each other for years." "In every sense of the word." Tanya gave him a nudge and they shared another laugh. In every sense of the word... Daisy felt a cold stab of jealousy at their intimate moment. It didn't make sense. Her relationship with Liam wasn't real. But the more time she spent with him, the more the line blurred and she didn't know where she stood. "Daisy is a senior software engineer for an exciting new start-up that's focused on menstrual products," Liam said. "She's in line for a promotion to product manager. The company couldn't run without her." Daisy grimaced. "I think that's a bit of an exaggeration." "Take the compliment," Tanya said. "Liam doesn't throw many around... At least, he didn't used to." At least, he didn't used to... Was the bitch purposely trying to goad her with little reminders about her shared past with Liam? Daisy's teeth gritted together. Well, she got the message. Tanya was a cool, bike-riding, smooth-haired venture capitalist ex who clearly wasn't suffering in any way after her journey. She was probably so tough she didn't need any padding in her seat. Maybe she just sat on a board or the bare steel frame. Liam ran a hand through his hair, ruffling the dark waves into a sexy tangle. Was he subconsciously grooming himself for Tanya? Or was he just too warm? "What are you riding now?" "Triumph Street Triple 675. I got rid of the Ninja. Not enough power." "You like the naked styling?" Liam asked. Tanya smirked. "Naked is my thing, as you know too well." Naked is my thing... As you know too well... Daisy tried to shut off the snarky voice in her head, but something about Tanya set her possessive teeth on edge. "Do you want to join us inside?" Liam asked. "We're going to have a coffee before we finish the loop." Say no. Say no. Say no. "Sounds good." Tanya took a few steps and looked back over her shoulder. "Do you need a hand, Daisy?" Only to slap you.

Some years ago—to be definite, in May, 1884—there came to Lee a gentleman, Neville St. Clair by name, who appeared to have plenty of money. He took a large villa, laid out the grounds very nicely, and lived generally in good style. By degrees he made friends in the neighbourhood, and in 1887 he married the daughter of a local brewer, by whom he now has two children. He had no occupation, but was interested in several companies and went into town as a rule in the morning, returning by the 5:14 from Cannon Street every night. Mr. St. Clair is now thirty-seven years of age, is a man of temperate habits, a good husband, a very affectionate father, and a man who is popular with all who know him. I may add that his whole debts at the present moment, as far as we have been able to ascertain, amount to �88 10s., while he has �220 standing to his credit in the Capital and Counties Bank. There is no reason, therefore, to think that money troubles have been weighing upon his mind.

These neighborhoods went on for miles—just street after foot-wearying street of trophy homes, with big gates beside broad drives, patios adorned with Grecian urns on ornate plinths, and garages for fleets of cars. It was a stunning demonstration of the proposition that money and taste don’t always, or even often, go together. These were the houses of lottery winners, of retailers of the sort who appear in their own television commercials, of people for whom the words “Peppermint Grove” in an address would not be an embarrassment. I would not suggest for a moment that Australia’s nouveaux riches are more distant from refinement than the people of other lands, but the absence of a distinctive architectural vernacular in Australia does mean that people can take their styles from a wider range of sources—principally drive-in banks, casinos, upmarket nursing homes, and ski lodges. To see it massed over a spread of miles as in the western suburbs of Perth is certainly an absorbing experience.

Did those “new gays” spinning about like giddy tops in discos care to know that dancing with someone of the same sex was punishable as “lewd conduct” then? Still, a club in Topanga Canyon boasted a system of warning lights. When they flashed, lesbians and gay men shifted—what a grand adventure!—and danced with each other, laughing at the officers’ disappointed faces! How much pleasure—and camaraderie, yes, real kinship—had managed to exist in exile. Did those arrogant young people know that, only years ago, you could be sentenced to life in prison for consensual sex with another man? A friend of his destroyed by shock therapy decreed by the courts. Another friend sobbing on the telephone before he slashed his wrists— Thomas's hands on his steering wheel had clenched in anger, anger he had felt then, anger he felt now. And all those pressures attempted to deplete you, and disallow— “—the yearnings of the heart,” he said aloud. Yet he and others of his generation had lived through those barbaric times—and survived—those who had survived—with style. Faced with those same outrages, what would these “new gays” have done? “Exactly as we did,” he answered himself. The wind had resurged, sweeping sheaths of dust across the City, pitching tumbleweeds from the desert into the streets, where they shattered, splintering into fragments that joined others and swept away. Now, they said, everything was fine, no more battles to fight. Oh, really? What about arrests that continued, muggings, bashings, murder, and hatred still spewing from pulpits, political platforms, and nightly from the mouths of so-called comedians? Didn't the “new gays” know—care!—that entrenched “sodomy” laws still existed, dormant, ready to spring on them, send them to prison? How could they think they had escaped the tensions when those pressures were part of the legacy of being gay? Didn't they see that they remained—as his generation and generations before his had been—the most openly despised? And where, today, was the kinship of exile?

The joy and power of portraiture is that it freezes us in time. Before the portrait, we were younger. After it has been created we will age or we will rot. Even Marc Quinn's chilled nightmare self-protraits in liquid silicone and blood can only preserve a specific moment in time: they cannot age and die as Quinn does and will. Ask the question, Who are we? and the portraits give us answers of a sort. We came from here, the old ones say. These were our kings and queens, our wise ones and our fools. We walk into the BP exhibition hall and they tell us who we are today: a confluence of artistic styles and approaches, of people we could pass in the streets. We look like this, naked and clothed, they tell us. We are here, in this image, because a painter had something to say. Because we are all interesting. Because we cannot gaze into a mirror without being changed. Because we do not know who we are, but sometimes there is a light caught in someone's eyes, that comes close to giving us the tiniest hint of an answer.

The neighborhood’s only cheerful sound I usually sleep through: the morning coos of toddlers. A troop of them, round-faced and multilayered, walk to some daycare hidden even farther in the rat’s nest of streets behind me, each clutching a section of a long piece of rope trailed by a grown-up. They march, penguin-style, past my house every morning, but I have not once seen them return. For all I know, they troddle around the entire world and return in time to pass my window again in the morning. Whatever the story, I am attached to them. There are three girls and a boy, all with a fondness for bright red jackets—and when I don’t seen them, when I oversleep, I actually feel blue. Bluer. That’d be the word my mom would use, not something as dramatic as depressed. I’ve had the blues for twenty-four years. I couldn't get up, even when I heard the kids make their sleepy duckwalk past my house. I pictured them in big rubber rainboots, clomping along, leaving rounded footprints in the March muck, and I still couldn't move.

On Rossini's 'The Barber of Seville' - "Much has been written about the fiasco of the opera's first night on 20 February 1816, most of it true: the mockery of Rossini's Spanish-style hazel jacket, the rowdy animosity of the Paisiello lobby, the jeering and the catcalls, as one mishap succeeded another. Basilio sang his 'Calumny' aria with a bloodied nose after tripping over a trap door; then during the act 1 finale, a cat wandered onstage, declined to leave, and was forcibly flung into the wings. According to the Rosina, Gertrude Righetti Giorgi, Rossini left the theatre 'as though he had been an indifferent onlooker'... The second performance was a triumph, though Rossini was not there to witness it. He spent the evening pacing his room, imagining the opera's progress scene by scene. He retired early, only to be roused by a glow of torches and uproar in the street. Fearing that a mob was about to set fire to the building, he took refuge in a stable block. Garcia tried to summon him to acknowledge the adulation. 'F***' their bravos!' was Rossini's blunt rejoinder. 'I'm not coming out'.

Thus, no matter where you live in New York City, you will find within a block or two a grocery store, a barbershop, a newsstand and shoeshine shack, an ice-coal-and-wood cellar (where you write your order on a pad outside as you walk by), a dry cleaner, a laundry, a delicatessen (beer and sandwiches delivered at any hour to your door), a flower shop, an undertaker's parlor, a movie house, a radio-repair shop, a stationer, a haberdasher, a tailor, a drug-store, a garage, a tearoom, a saloon, a hardware store, a liquor store, a shoe-repair shop. Every block or two, in most residential sections of New York, is a little main street. A man starts for work in the morning and before he has gone two hundred yards he has completed half a dozen missions: bought a paper, left a pair of shoes to be soled, picked up a pack of cigarettes, ordered a bottle of whiskey to be dispatched in the opposite direction against his home-coming, written a message to the unseen forces of the wood cellar, and notified the dry cleaner that a pair of trousers awaits call. Homeward bound eight hours later, he buys a bunch of pussy willows, a Mazda bulb, a drink, a shine-- all between the corner where he steps off the bus and his apartment.

Mathilde watched as down the street came a little girl in a red snowsuit with purple racing stripes. Mittens, a cap too big for her head. Disoriented, the girl turned around and around and around. She began to climb the snow mountain that blocked her from the street. But she was so weak. Halfway up, she’d slip back down. She’d try again, digging her feet deeper into the drift. Mathilde held her breath each time, let it out when the girl fell. She thought of a cockroach in a wineglass, trying to climb up the smooth sides. When Mathilde looked across the street at a long brick apartment complex taking up the whole block, ornate in its 1920s style, she saw, in scattered windows, three women watching the little girl’s struggles. Mathilde watched the women as they watched the girl. One was laughing over her bare shoulder at someone in the room, flushed with sex. One was elderly, drinking her tea. The third, sallow and pinched, had crossed her skinny arms and was pursing her lips. At last, the girl, exhausted, slid down and rested, her face against the snow. Mathilde was sure she was crying. When Mathilde looked up again, the woman with crossed arms was staring angrily through all the glass and cold and snow directly at her. Mathilde startled, sure she’d been invisible. The woman disappeared. She reappeared on the sidewalk in inside clothes, tweedy and thin. She chucked her body into the snowdrift in front of the apartment building, crossed the street, grabbed the girl by the mittens and swung her over the mountain. Carried her across the street and did it again. Both mother and daughter were powdered with white when they went inside. Long after they were gone, Mathilde thought of the woman. What she was imagining when she saw her little girl fall and fall and fall. She wondered at the kind of anger that would crumple your heart up so hard that you could watch a child struggle and fail and weep for so long, without moving to help. Mothers, Mathilde had always known, were people who abandoned you to struggle alone. It occurred to her then that life was conical in shape, the past broadening beyond the sharp point of the lived moment. The more life you had, the more the base expanded, so that the wounds and treasons that were nearly imperceptible when they happened stretched like tiny dots on a balloon slowly blown up. A speck on the slender child grows into a gross deformity in the adult, inescapable, ragged at the edges. A

You mentioned that Palermo, the part of Buenos Aires where you were brought up, had been a violent place full of bohemians and bandits. There they had two names for the knife, ‘the blade’ and ‘the slicer’. The two names described the same object, but ‘the blade’ was the thing itself, and ‘the slicer’ described its function. ‘The blade’ could fit in the hand even of a sickly child shut up in his father’s library, ‘the blade’ could be any of the superannuated daggers and swords belonging to his warrior grandfather or great-grandfather and displayed on the walls of his house, but ‘the slicer’, the knife in the hand slicing back and forth, in and out, existed only in his imagination, in a fascinating world of rapid settlings of accounts and duels over honor, an insult or a woman, in dark street where you never went, where no writer went, except in the literature he wrote. ‘I’ve always felt that in order to be a great writer, one should have the experience of life at sea, which is why Conrad and Melville and, in a way, Stevenson, who ended his days in the South Seas, were better than all of us, Vogelstein. At sea, a writer flees from the minor demons and faces only the definitive ones. A character in Conrad says that he has a horror of ports because, in port, ships rot and men go to the devil. He meant the devils of domesticity and incoherence, the small devils of terra firma. But I think that having experience of “the slicer” would give a writer the same sensation as going to sea, of spectacularly breaking the bounds of his own passivity and of his remoteness from the fundamental matters of the world.’ ‘You mean that if the writer were to stab someone three times, he could allege that he was merely doing so in order to improve his style.’ ‘Something like that. Soaking up experience and atmosphere.’ ‘It’s said that the artist Turner used to have himself lashed to the ship’s mast during storms at sea so that he could make sure he was getting the colours and details of his painted vortices right.’ ‘And it worked. But neither you nor I will ever experience “the slicer”, Vogelstein. We are condemned to “the blade”, to the knife purely as theory. Even if we used “the slicer” against someone, we would still be ourselves, watching, analyzing the scene, and, therefore, inevitably, holding “the blade” in our hand. I don’t think I could kill anyone, apart from my own characters. And I don’t think I would feel comfortable at sea either. There aren’t any libraries at sea. The sea replaces the library.

So much for Caligula as emperor; we must now tell of his career as a monster.... He lived in habitual incest with all his sisters, and at a large banquet he placed each of them in turn below him, while his wife reclined above. Many men of honourable rank were first disfigured with the marks of branding-irons and then condemned to the mines, to work at building roads, or to be thrown to the wild beasts; or else he shut them up in cages on all fours, like animals, or had them sawn asunder. Not all these punishments were for serious offences, but merely for criticising one of his shows, or for never having sworn by his genius. Having asked a man who had been recalled from an exile of long standing, how in the world he spent his time there, the man replied by way of flattery: "I constantly prayed the gods for what has come to pass, that Tiberius might die and you become emperor." Thereupon Caligula, thinking that his exiles were likewise praying for his death, sent emissaries from island to island to butcher them all. Wishing to have one of the senators torn to pieces, he induced some of the members to assail him suddenly, on his entrance into the House, with the charge of being a public enemy, to stab him with their styles, and turn him over to the rest to be mangled; and his cruelty was not sated until he saw the man's limbs, members, and bowels dragged through the streets and heaped up before him. He used to say that there was nothing in his own character which he admired and approved more highly than what he called his ἀδιατρεψία, that is to say, his shameless impudence. He seldom had anyone put to death except by numerous slight wounds, his constant order, which soon became well-known, being: "Strike so that he may feel that he is dying." When a different man than he had intended had been killed, through a mistake in the names, he said that the victim too had deserved the same fate. He even used openly to deplore the state of his times, because they had been marked by no public disasters, saying that the rule of Augustus had been made famous by the Varus massacre, and that of Tiberius by the collapse of the amphitheatre at Fidenae,​ while his own was threatened with oblivion because of its prosperity; and every now and then he wished for the destruction of his armies, for famine, pestilence, fires, or a great earthquake. While he was lunching or revelling capital examinations by torture were often made in his presence, and a soldier who was adept at decapitation cut off the heads of those who were brought from prison. At a public banquet in Rome he immediately handed a slave over to the executioners for stealing a strip of silver from the couches, with orders that his hands be cut off and hung from his neck upon his breast, and that he then be led about among the guests.

Just so surely as we tend to disintegrate these nuclei of nationalistic culture do we tend to create hordes of men and women without a spiritual country, cultural outlaws, without taste, without standards but those of the mob. We sentence them to live on the most rudimentary planes of American life. The influences at the centre of the nuclei are centripetal. They make for the intelligence and the social values which mean an enhancement of life. And just because the foreign-born retains this expressiveness is he likely to be a better citizen of the American community. The influences at the fringe, however, are centrifugal, anarchical. They make for detached fragments of peoples. Those who came to find liberty achieve only license. They become the flotsam and jetsam of American life, the downward undertow of our civilization with its leering cheapness and falseness of taste and spiritual outlook, the absence of mind and sincere feeling which we see in our slovenly towns, our vapid moving pictures, our popular novels, and in the vacuous faces of the crowds on the city street. This is the cultural wreckage of our time, and it is from the fringes of the Anglo-Saxon as well as the other stocks that it falls. America has as yet no impelling integrating force. It makes too easily for this detritus of cultures. In our loose, free country, no constraining national purpose, no tenacious folk-tradition and folk-style hold the people to a line.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

In Tokyo, ramen is a playground for the culinary imagination. As long as the dish contains thin wheat noodles, it's ramen. In fact, there's a literal ramen playground called Tokyo Ramen Street in the basement of Tokyo Station, with eight top-rated ramen shops sharing one corridor. We stopped by one evening after a day of riding around on the Shinkansen. After drooling over the photos at establishments such as Junk Garage, which serves oily, brothless noodles hidden under a towering slag heap of toppings, we settled on Ramen Honda based on its short line and the fact that its ramen seemed to be topped with a massive pile of scallions. However, anything in Tokyo that appears to be topped with scallions is actually topped with something much better. You'll meet this delectable dopplegänger soon, and in mass quantities. The Internet is littered with dozens if not hundreds of exclamation point-bedecked ramen blogs (Rameniac, GO RAMEN!, Ramen Adventures, Ramenate!) in English, Japanese, and probably Serbian, Hindi, and Xhosa. In Tokyo, you'll find hot and cold ramen; Thai green curry ramen; diet ramen and ramen with pork broth so thick you could sculpt with it; Italian-inspired tomato ramen; and Hokkaido-style miso ramen. You'll find ramen chains and fiercely individual holes-in-the-wall. Right now, somewhere in the world, someone is having a meet-cute with her first bowl of ramen. As she fills up on pork and noodles and seaweed and bamboo shoots, she thinks, we were meant to be together, and she is embarrassed at her atavistic reaction to a simple bowl of soup.

It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.

The neighborhood of Indian Village lay just twelve blocks west of Hurlbut, but it was a different world altogether. The four grand streets of Burns, Iroquois, Seminole, and Adams (even in Indian Village the White Man had taken half the names) were lined with stately houses built in eclectic styles. Red-brick Georgian rose next to English Tudor, which gave onto French Provincial. The houses in Indian Village had big yards, important walkways, picturesquely oxidizing cupolas, lawn jockeys (whose days were numbered), and burglar alarms (whose popularity was only just beginning). My grandfather remained silent, however, as he toured his son’s impressive new home. “How do you like the size of this living room?” Milton was asking him. “Here, sit down. Make yourself comfortable. Tessie and I want you and Ma to feel like this is your house, too. Now that you’re retired—” “What do you mean retired?” “Okay, semiretired. Now that you can take it a little bit easy, you’ll be able to do all the things you always wanted to do. Look, in here’s the library. You want to come over and work on your translations, you can do it right here. How about that table? Big enough for you? And the shelves are built right into the wall.” Pushed out of the daily operations at the Zebra Room, my grandfather began to spend his days driving around the city. He drove downtown to the Public Library to read the foreign newspapers. Afterward, he stopped to play backgammon at a coffee house in Greektown. At fifty-four, Lefty Stephanides was still in good shape. He walked three miles a day for exercise. He ate sensibly and had less of a belly than his son. Nevertheless

Mike sounded dismissive of Western communication styles, but he admitted that he sometimes wished he could be noisy and uninhibited himself. “They’re more comfortable with their own character,” he said of his Caucasian classmates. Asians are “not uncomfortable with who they are, but are uncomfortable with expressing who they are. In a group, there’s always that pressure to be outgoing. When they don’t live up to it, you can see it in their faces.” Mike told me about a freshman icebreaking event he’d participated in, a scavenger hunt in San Francisco that was supposed to encourage students to step out of their comfort zones. Mike was the only Asian assigned to a rowdy group, some of whom streaked naked down a San Francisco street and cross-dressed in a local department store during the hunt. One girl went to a Victoria’s Secret display and stripped down to her underwear. As Mike recounted these details, I thought he was going to tell me that his group had been over the top, inappropriate. But he wasn’t critical of the other students. He was critical of himself. “When people do things like that, there’s a moment where I feel uncomfortable with it. It shows my own limits. Sometimes I feel like they’re better than I am.” Mike was getting similar messages from his professors. A few weeks after the orientation event, his freshman adviser—a professor at Stanford’s medical school—invited a group of students to her house. Mike hoped to make a good impression, but he couldn’t think of anything to say. The other students seemed to have no problem joking around and asking intelligent questions. “Mike, you were so loud today,” the professor teased him when finally he said good-bye. “You just blew me away.” He left her house feeling bad about himself. “People who don’t talk are seen as weak or lacking,” he concluded ruefully.

The wedding of David and Michal was a glorious affair. Though Saul was normally stingy with his money, he was not so with his daughters. Michal had started the day with a bath followed by a bodily anointing of oil. She wore a linen and silk dress with embroidered cloth of Phoenician purple. Her hair was brushed to a soft perfection and placed beneath her Tyrian style crown of gold. She was bedecked with gold and silver jewelry from Egypt. Bracelets, necklaces, ear coverings and a ring on her nose. She walked through the Gibeah streets in fine calf leather sandals, surrounded by a cadre of dozens of virgin bridesmaid companions dressed in white linen. A band of minstrels led her with rejoicing on tambourine, flute, and lyre. She felt like a queen. She would be a queen one day. She knew that she was marrying the mightiest warrior in all of Israel. The gibborim who had killed the giant Rephaim Philistine, who her own father, the anointed warrior king, could not conquer. All she could think of the entire journey to the palace were the lyrics she first heard her from the lips of her bridegroom upon their first acquaintance. She had never forgot them. They were burned into her heart. He had sung a song of virginal submission to a manly king as a sample of his musical talent to her father. But she knew he had sung those words for her. She knew by the look in his eyes, his unquenchable stare of desire for her. It was like a prophecy. Now those words were coming true, she was going to be living them out any moment. Hear, O daughter, and consider, and incline your ear: forget your people and your father’s house, and the king will desire your beauty. Since he is your lord, bow to him. The people of Israel lined the streets and cheered their beautiful princess as she approached the entranceway to the palace. She could feel her heart pounding out of her chest. Would he sing to her on their wedding night? Would he seduce her with his musical talent before he ravished her? All glorious is the princess in her chamber, with robes interwoven with gold. In many-colored robes she is led to the king, with her virgin companions following behind her. With joy and gladness they are led along as they enter the palace of the king.

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

TINY CRAB CAKES 1 egg 1½ cups fresh breadcrumbs (see Note) ¼ cup finely chopped scallions (2–3 scallions) 1 tablespoon mayonnaise 1 teaspoon lemon juice (juice of about ⅙ medium lemon) ½ teaspoon Worcestershire sauce ¼ teaspoon seafood seasoning mix, such as Old Bay 8 ounces fresh lump-style crabmeat, picked over 2–3 tablespoons vegetable oil Scallion brushes for garnish (optional; see page 19) MAKES ABOUT 24 MINI CAKES (4–6 SERVINGS) 1. To make the Curry-Orange Mayo, whisk together the mayonnaise, curry powder, orange zest, orange juice, and Tabasco in a small bowl. Refrigerate for at least 2 hours or up to 3 days. When ready to serve, transfer to a pretty bowl and sprinkle with the scallions. 2. To make the crab cakes, lightly beat the egg in a large bowl. Add ¾ cup of the breadcrumbs, the scallions, mayonnaise, lemon juice, Worcestershire sauce, and seasoning mix. Stir well to blend. Add the crabmeat and mix gently, being careful not to shred the crabmeat entirely. 3. Spread the remaining ¾ cup of breadcrumbs onto a plate. Form the crab mixture into 24 cakes, using a scant tablespoon for each one, and dredge lightly in the crumbs. Arrange on a wax paper-lined baking sheet. 4. Heat 2 tablespoons of the oil in one or two large skillets over medium heat. Cook the cakes until golden brown and crisp on one side, about 2 to 2½ minutes. Flip and repeat. The cakes should be hot inside. Repeat with any remaining cakes, adding more oil as necessary. Serve immediately, or place on a foil-lined baking sheet, wrap well, and refrigerate for up to 24 hours, or freeze for up to 2 weeks. 5. If you make the cakes ahead, remove from the refrigerator or freezer 30 minutes prior to reheating. Preheat the oven to 375°F. Bake the cakes until hot and crisp, 10 to 15 minutes. 6. Arrange on a platter with the sauce for dipping, and garnish with the scallion brushes, if desired. Note: Tear 3 slices of good-quality bread into pieces and whir in a food processor to make breadcrumbs. Portland Public Market The Portland Public Market, which opened in 1998, continues Maine’s long tradition of downtown public markets, dating back to the 19th century. Housed in an award-winning brick, glass, and wood structure, the market, which was the brainchild of Maine philanthropist Elizabeth Noyce, is a food-lover’s heaven. Vendors include organic produce farms; butchers selling locally raised meat; purveyors of Maine-made cheeses, sausages, and smoked seafood; artisan bakers; and flower sellers. Prepared take-away food includes Mexican delicacies, pizza, soups, smoothies, and sandwiches, and such well-known Portland culinary stars as Sam Hayward (see page 127) and Dana Street (see page 129) have opened casual dining concessions.

Larry Hawkins, 35, editor-publisher of the People’s Times, a weekly newspaper devoted to local politics, was found dead this morning in an alley outside the Times offices at 1140 Cleveland Street, a police spokesman said. Hawkins, an apparent suicide, had fallen from his office window on the building’s seventh floor. A note was found, the spokesman said. Hawkins, self-styled “gadfly” of the City’s political establishment, was a well-known local figure. The People’s Times began publication three years ago. Hawkins is survived by his wife, Susanna, and two sons.

Swiss citizens could see now that U.S.-style drug crackdowns had brought chaos to their streets—and after the government provided a legal route to heroin, the chaos vanished. So they argued that the drug war means disorder, while ending the drug war means slowly restoring order.

Hoffland, as it was called, was, next to Moda Polska (simply “Polish Fashion”) one of the rare examples of the quasi-private, though officially nationalized fashion companies in Poland. Both have survived communism, and Hoff kept designing well into the 90s. You could be sure, that if Hoff wrote about a new style for wearing a shawl in her column, the same afternoon there would already be dozens of girls on the streets trying to copy this style. Her flagship idea was blackening the “coffin shoes” (i.e. light, paper shoes, used as footwear for the deceased) which when colored black could pass as elegant “ballerinas”.

This new generation of Italian American entertainers shared Sinatra’s view of the new dance music that emerged in the 1950s. “Rock-and-roll is the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear,” Sinatra told Congress in 1958. “Rock-and-roll smells phony and false. It is sung, played, and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd—in plain fact, dirty—lyrics … it manages to be the martial music of every sideburned delinquent on the face of the earth.” In response to the raw, driving sexuality of black-influenced rock, young Italian American men in New York and Philadelphia did to the new music what Sinatra and his generation had done to jazz. A style combining smooth vocal harmonies, romantic lyrics, and a stationary stage presence, doo-wop was invented in the 1940s by black youth on street corners, but it shot to the top of the pop charts in the late 1950s when Italian Americans adopted it as their own—just as most African American performers moved toward “soul music.” From 1958, when Dion (DiMucci) and the Belmonts placed several songs on the pop charts, until the “British Invasion” of 1964, Italian American doo-wop groups dominated American popular music. All wearing conservative suits and exuding a benign romanticism, the Capris, the Elegants, the Mystics, the Duprees, the Del-Satins, the Four Jays, the Essentials, Randy and the Rainbows, and Vito & the Salutations declared the arrival of Italians into American civilization. During the rise of doo-wop and Frank Rizzo, Malcolm X mocked the newly white Italians. “No Italian will ever jump up in my face and start putting bad mouth on me,” he said, “because I know his history. I tell him when you’re talking about me you’re talking about your pappy, your father. He knows his history. He knows how he got that color.” Though fewer and fewer Italian Americans know the history of which Malcolm X spoke, some have reenacted it.

another 9/11 style attack, a hurricane, an earthquake, a large wild fire, or a stock market crash could be classified as a catastrophic emergency and trigger martial law.

low-rise, mixed-use buildings of two or three stories—the kind you see on an old-style, small-town main street—bring in ten times the revenue per acre as that of an average big-box development.

Along the streets thats lead away from the apartment he can never see anything through the concrete and the brick and neon but he knows that buried within it are grotesque, twisted souls forever trying the manners that will convince themselves the possess Quality, learning strange poses of style and glamour vended by dream magazines and other mass media, and paid for by the vendors of substance. He thinks of them at night alone with their advertised glamorous shoes and stockings and underclothes off, staring through the sooty windows at the grotesque shells revealed beyond them, when the poses weaken and the truth creeps in, the only truth that exists here, crying to heaven, God, there is nothing here but dead neon and cement and brick.

A deep shout resounded from inside the café, a muffled demand. I shouldn’t have been surprised, still my heart made a mad leap for my throat. People screamed, the sound noticeable even through the thick glass windows. I wouldn’t turn back. I stepped off the curb, glanced left, then right and darted across the street. I had five minutes to make it home in time and couldn’t be late…again or Grandma would worry. I focused on the long road that led to our small Cape Cod style cottage, focused on the crunch of brittle leaves under my sneakers, focused on breathing. I would not react to the scene around me. I couldn’t. As Grandma repeatedly warned, my very life