Strings Single Quotes

In spite of all the refinements of civilization that conspired to make art--the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard's canvases--beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.

If we affirm one moment, we thus affirm not only ourselves but all existence. For nothing is self-sufficient, neither in us ourselves nor in things; and if our soul has trembled with happiness and sounded like a harp string just once, all eternity was needed to produce this one event - and in this single moment of affirmation all eternity was called good, redeemed, justified, and affirmed.

ardent, adj. It was after sex, when there was still heat and mostly breathing, when there was still touch and mostly thought... it was as if the whole world could be reduced to the sound of a single string being played, and the only thing this sound could make me think of was you. Sometimes desire is in the air; sometimes desire is liquid. And every now and then, when everything else is air and liquid, desire solidifies, and the body is the magnet that draws its weight.

Seen from the air, the male mind must look rather like the canals of Europe, with ideas being towed along well-worn towpaths by heavy-footed dray horses. There is never any doubt that they will, despite wind and weather, reach their destinations by following a simple series of connected lines. But the female mind, even in my limited experience, seems more of a vast and teeming swamp, but a swamp that knows in an instant whenever a stranger--even miles away--has so much as dipped a single toe into her waters. People who talk about this phenomenon, most of whom know nothing whatsoever about it, call it "woman's intuition.

The bitch isn't afraid to be different, which is why she won't be a "booty call" or a pearl on a long string of pearls. She won't be a man's late-night convenience. She won't be doing lap dances. She won't be afraid to turn thirty or forty years old. At any age, this woman will feel like a "prize." She won't be defined by the media's perception of aging; she won't be made to feel like detective livestock because she is no longer a teenager. Married, single, or divorced, this woman feels good about herself.

I have said that music allows for quick creation. But it is nothing compared with what you humans can destroy in a single conversation.

single moment in a string of infinite moments…and that they too shall pass.

The beauty of the flute was in its simplicity, in its resemblance to the human voice. It always sounded clear. It sounded alone. The piano, on the other hand, was a network of parts—a ship, with its strings like rigging, its case a hull, its lifted lid a sail. Kestrel always thought that the piano didn't sound like a single instrument but a twinned one, with its low and high halves merging together or pulling apart.

Fear has a lot of flavors and textures. There's a sharp, silver fear that runs like lightning through your arms and legs, galvanizes you into action, power, motion. There's heavy, leaden fear that comes in ingots, piling up in your belly during the empty hours between midnight and morning, when everything is dark, every problem grows larger, and every wound and illness grows worse. And there is coppery fear, drawn tight as the strings of a violin, quavering on one single note that cannot possibly be sustained for a single second longer—but goes on and on and on, the tension before the crash of cymbals, the brassy challenge of the horns, the threatening rumble of the kettle drums. That's the kind of fear I felt. Horrible, clutching tension that left the coppery flavor of blood on my tongue. Fear of the creatures in the darkness around me, of my own weakness, the stolen power the Nightmare had torn from me. And fear for those around me, for the folk who didn't have the power I had.

That's why I wanted to use Supper at Six to teach chemistry. Because when women understand chemistry, they begin to understand how things work." Roth looked confused. "I'm referring to atoms and molecules, Roth," she explained. "The real rules that govern the physical world. When women understand these basic concepts, they can begin to see the false limits that have been created for them." "You mean by men." "I mean by artificial cultural and religious policies that put men in the highly unnatural role of single-sex leadership. Even a basic understanding of chemistry reveals the danger of such a lopsided approach." "Well," he said, realizing he'd never seen it that way before, "I agree that society leaves much to be desired, but when it comes to religion, I tend to think it humbles us--teaches us our place in the world." "Really?" she said, surprised. "I think it lets us off the hook. I think it teachers us that nothing is really our fault; that something or someone else is pulling the strings; that ultimately, we're not to blame for the way things are; that to improve things, we should pray. But the truth is, we are very much responsible for the badness of the world. And we have the power to fix it.

What hair she had looked like scrambled eggs in string form, in wild clumps and in single strands, giving her the appearance of a wired, harried, ancient, terrified professor.

Nothing is more seductive that a nice string of data, a single bell curve, or a seemingly peer-reviewed scientific study. After all, it can’t be racist if it is a “fact.

As the components of your life are stripped away, after all the ambitions and hopes vaporize, you reach a self-reflective starkness-- the repetitious plucking of a single overwound string.

Everything has strings leading to everything else. We're all so tied together. We're all in a net, the net is waiting, and we're pushed into it by one single desire. You want a thing and it's precious to you. Do you know who is standing ready to tear it out of your hands? You can't know, it may be so involved and so far away, but someone is ready, and you're afraid of them all. And you cringe and you crawl and you beg and you accept them--just so they'll let you keep it. And look at whom you come to accept.

Yet there wasn’t a single day when I sat down to write an article, blog post, or book chapter without a string of people waiting for me to get back to them. It

Ardent, adj.: It was as if the whole world could be reduced to the sound of a single string being played, and the only thing this sound could make me think of was you.

Something just ain't right about thanking the Lord for sending you an opportunistic pretty boy who carried a string of condoms and single use packets of lube in his pocket. Still, I did it.

It was after sex, when there was still heat and mostly breathing, when there was still touch and mostly thought... it was as if the whole world could be reduced to the sound of a single string being played, and the only thing this sound could make me think of was you.

He yearned for a thousand tremulous dreams, for cool and delicate images, transparent tints, fleeting scents, and exquisite music from streams of highly strung, tensely drawn silvery strings — and then silence, the innermost heart of silence, where the waves of air never bore a single stray tone, but where all was rest unto death, steeped in the calm glow of red colors and the languid warmth of fiery fragrance.

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

normal was a lot more tempting when it was out of reach. Once normal had been a heavy, smothering blanket she feared being trapped beneath. But now normal felt fragile, as though she could unravel it all just by teasing out a single string.

From the first note I knew it was different from anything I had ever heard.... It began simply, but with an arresting phrase, so simple, but eloquent as a human voice. It spoke, beckoning gently as it unwound, rising and tensing. It spiraled upward, the tension growing with each repeat of the phrasing, and yet somehow it grew more abandoned, wilder with each note. His eyes remained closed as his fingers flew over the strings, spilling forth surely more notes than were possible from a single violin. For one mad moment I actually thought there were more of them, an entire orchestra of violins spilling out of this one instrument. I had never heard anything like it--it was poetry and seduction and light and shadow and every other contradiction I could think of. It seemed impossible to breathe while listening to that music, and yet all I was doing was breathing, quite heavily. The music itself had become as palpable a presence in that room as another person would have been--and its presence was something out of myth.

And the City, in its own way, gets down for you, cooperates, smoothing its sidewalks, correcting its curbstones, offering you melons and green apples on the corner. Racks of yellow head scarves; strings of Egyptian beads. Kansas fried chicken and something with raisins call attention to an open window where the aroma seems to lurk. And if that's not enough, doors to speakeasies stand ajar and in that cool dark place a clarinet coughs and clears its throat waiting for the woman to decide on the key. She makes up her mind and as you pass by informs your back that she is daddy's little angel child. The City is smart at this: smelling and good and looking raunchy; sending secret messages disguised as public signs: this way, open here, danger to let colored only single men on sale woman wanted private room stop dog on premises absolutely no money down fresh chicken free delivery fast. And good at opening locks, dimming stairways. Covering your moans with its own.

And she felt the beauty in the music now, drank it in with tears streaming down her face. Never had she been so naked in worship before her Creator, allowing the adoration to bleed out her very fingertips onto the strings, playing her heart's cry for every single lost soul, for the loss of innocence every generation to come would possess as a result of what happened at the killing fields of Auschwitz.

[I] threw open the door to find Rob sit­ting on the low stool in front of my book­case, sur­round­ed by card­board box­es. He was seal­ing the last one up with tape and string. There were eight box­es - eight box­es of my books bound up and ready for the base­ment! "He looked up and said, 'Hel­lo, dar­ling. Don't mind the mess, the care­tak­er said he'd help me car­ry these down to the base­ment.' He nod­ded to­wards my book­shelves and said, 'Don't they look won­der­ful?' "Well, there were no words! I was too ap­palled to speak. Sid­ney, ev­ery sin­gle shelf - where my books had stood - was filled with ath­let­ic tro­phies: sil­ver cups, gold cups, blue rosettes, red rib­bons. There were awards for ev­ery game that could pos­si­bly be played with a wood­en ob­ject: crick­et bats, squash rac­quets, ten­nis rac­quets, oars, golf clubs, ping-​pong bats, bows and ar­rows, snook­er cues, lacrosse sticks, hock­ey sticks and po­lo mal­lets. There were stat­ues for ev­ery­thing a man could jump over, ei­ther by him­self or on a horse. Next came the framed cer­tificates - for shoot­ing the most birds on such and such a date, for First Place in run­ning races, for Last Man Stand­ing in some filthy tug of war against Scot­land. "All I could do was scream, 'How dare you! What have you DONE?! Put my books back!' "Well, that's how it start­ed. Even­tu­al­ly, I said some­thing to the ef­fect that I could nev­er mar­ry a man whose idea of bliss was to strike out at lit­tle balls and lit­tle birds. Rob coun­tered with re­marks about damned blue­stock­ings and shrews. And it all de­gen­er­at­ed from there - the on­ly thought we prob­ably had in com­mon was, What the hell have we talked about for the last four months? What, in­deed? He huffed and puffed and snort­ed and left. And I un­packed my books.

If I opened my mouth to say a single word, all of the other expired words would have followed and spilled to the ground, as if the string that held them together had snapped.

Ian's sense of right and wrong overwhelms me. Not a single other person .... I know possesses such an unshakable sense of morality. Its more than unbelievable. It's frightening. To offer without strings something all men crave, and be rejected by him is incomprehensible. Think I'll have to kick Kaeleigh's ass. Does she have any idea what it means .... to be so treasured? He has built a pedestal for her so tall that she is afraid to be lifted atop it, because to fall would mean certain death. But oh, she would rise far, far beyond fear.

Our darkest fiction is full of Orwellian dystopias, shadowy cabals, and mind-controlling supervillains. But it turns out that the brainless, microscopic, single-celled organisms that live inside us have been pulling on our strings all along. On

It is not proper for man’s life to be a circle, she thought, or a string of circles dropping off like zeros behind him—man’s life must be a straight line of motion from goal to farther goal, each leading to the next and to a single growing sum.

For three decades, Einstein sought a unified theory of physics, one that would interweave all of nature's forces and material constituents within a single theoretical tapestry. He failed. Now, at the dawn of the new millennium, proponents of string theory claim that the threads of this elusive unified tapestry finally have been revealed. String theory has the potential to show that all of the wondrous happenings in the universe—from the frantic dance of subatomic quarks to the stately waltz of orbiting binary stars, from the primordial fireball of the big bang to the majestic swirl of heavenly galaxies—are reflections of one grand physical principle, one master equation.

To paint one must forget everything else. Where you live, who you know, what you eat, when to sleep. The landscape of the canvas becomes your only reality. The planet you inhabit is a single plane of infinite dimensions, stretched like a guitar string, and standing before you like a concubine waiting for your command.

The human mind is only capable of absorbing a few things at a time. We see what is taking place in front of us in the here and now, and cannot envisage simultaneously a succession of processes, no matter how integrated and complementary. Our faculties of perception are consequently limited even as regards fairly simple phenomena. The fate of a single man can be rich with significance, that of a few hundred less so, but the history of thousands and millions of men does not mean anything at all, in any adequate sense of the word. The symmetriad is a million—a billion, rather—raised to the power of N: it is incomprehensible. We pass through vast halls, each with a capacity of ten Kronecker units, and creep like so many ants clinging to the folds of breathing vaults and craning to watch the flight of soaring girders, opalescent in the glare of searchlights, and elastic domes which criss-cross and balance each other unerringly, the perfection of a moment, since everything here passes and fades. The essence of this architecture is movement synchronized towards a precise objective. We observe a fraction of the process, like hearing the vibration of a single string in an orchestra of supergiants. We know, but cannot grasp, that above and below, beyond the limits of perception or imagination, thousands and millions of simultaneous transformations are at work, interlinked like a musical score by mathematical counterpoint. It has been described as a symphony in geometry, but we lack the ears to hear it.

now normal felt fragile, as though she could unravel it all just by teasing out a single string.

one single thread of gold tied me to you

Over the years, a number of very smart people have learned the hard way that a long string of impressive numbers multiplied by a single zero always equals zero.

The river itself is not a hundred yards across, and pa and Vernon and Vardaman and Dewey Dell are the only things in sight not of that single monotony of desolation leaning with that terrific quality a little from right to left, as though we had reached the place where the motion of the wasted world accelerates just before the final precipice. Yet they appear dwarfed. It is as though the space between us were time: an irrevocable quality. It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread and not the interval between. The mules stand, their fore quarters already sloped a little, their rumps high. They too are breathing now with a deep groaning sound; looking back once, their gaze sweeps across us with in their eyes a wild, sad, profound and despairing quality as though they had already seen in the thick water the shape of the disaster which they could not speak and we could not see.

Everything happens for a reason? I don't see it that way at all. To me, only the first part is clear: Everything happens. Then other things happen, and other things, still. Out of each of these moments, we make something. Any number of somethings, in fact. What comes of our own actions becomes the "reason." It is no predestined thing. We may arrive where we are by way of a specific path—we can take just one at a time—but it's never the only one that could have led us to our destination. Nor does a single event, even a string of them, point decisively to a single landing spot. There are infinite possible versions of our lives. Meaning is not what happens, but what we do with what happens when it does.

Love grows like a dance, my lamb. It is a series of steps, a string of decisions both you and Solomon will make. Sometimes, when Solomon withdraws, you must pursue him, while other times you must step back and let him return to you.” His tears glistened in the moonlight. “Remember, a man’s character is defined by more than a single decision, and love is made of more than a single step. Keep listening to Jehovah. He will set the tempo of your dance.

The attempt of Lavoisier to reform chemical nomenclature is premature. One single experiment may destroy the whole filiation of his terms; and his string of sulphates, sulphites, and sulphures, may have served no end than to have retarded the progress of science by a jargon, from the confusion of which time will be requisite to extricate us.

Oh what marvels fill me with thanksgiving! The deep mahogany of a leaf once green. The feathered fronds of tiny icicles coating every twig and branch in a wintry landscape. The feel of goosebumps thawing after endured frozen temperatures. Both hands clamped around a hot mug of herbal tea. The aromatic whiff of mint under my nose. The stir of emotion from a child's cry for mommy. A gift of love detached of strings. Spotted lilies collecting raindrops in a cupped clump of petals. The vibrant mélange of colors on butterfly wings. The milky luster of a single pearl. Rainbows reflecting off iridescence bubbles. Awe-struck silence evoked by any form of beauty. Avocado flecks in your eyes. Warm hands on my face. Sweetness on the tongue. The harmony of voices. An answered prayer. A pink balloon. A caress. A smile. More. These have become my treasures by virtue of thanksgiving.

Attention words. A single word wasn't enough. Not even for a particular segment. The brain had defenses, filters evolved over millions of years to protect against manipulation. The first was perception, the process of funneling an ocean of sensory input down to a few key data packages worthy of study by the cerebral cortex. When data got by the perception filter, it received attention. And she saw now that it must be like that all the way down: There must be words to attack each filter. Attention words and then maybe desire words and logic words and urgency words and command words. This was what they were teaching her. How to craft a string of words that would disable the filters one by one, unlocking each mental tumbler until the mind's last door swung open.

One thing of great importance can affect a small number of people. Equally so, a thing of little importance can affect a multitude. Either way, a happening - big or small - can affect an entire string of people. Occurrences can join us all together. You see, we're all made up of the same stuff. When something happens, it triggers something inside us that connects us to a situation, connects us to other people, lighting us up and linking us like little lights on a Christmas tree, twisted and turned but still connected to a wire. Some go out, others flicker, others burn strong and bright, yet we are all on the same line. I said at the beginning of this story that this was about people who find out who they are. About people who are unraveled and whose cores are revealed to all who count. And that all that count are revealed to them. You thought I was talking about Lou Suffern and the Turkey Boy, about Raphie, Jessica, and Ruth, didn't you? Wrong. I was talking about each of us. A lesson finds the common denominatior and links us all together, like a chain. At the end of that chain dangles a clock, and on the face of the clock registers the passing of time. We see it and we hear it, the hushed tick-tock, but often we don't feel it. Each second makes its mark on every single person's life - comes and then goes, quietly disappearing without fanfare, evaporating into air like steam from a piping hot Christmas pudding. Enough time leaves us warm; when our time is gone, it leaves us cold. Time is more precious than gold, more precious than diamonds, more precious than oil or any valuable treasures. It is time of which we do not have enough; it is time that causes the war within our hearts, and so we must spend it wisely. Time cannot be packaged and ribboned and left under trees for Christmas morning. Time can't be given. But it can be shared.

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We did not make ourselves, nor did we fashion a world that could not work without pain, and great pain at that, with a little pleasure, very little, to string us along--a world where all organisms are inexorably pushed by pain throughout their lives to do that which will improve their chances to survive and create more of themselves. Left unchecked, this process will last as long as a single cell remains palpitating in this cesspool of the solar system, this toilet of the galaxy. So why not lend a hand in nature's suicide? For want of a deity that could be held to account for a world in which there is terrible pain, let nature take the blame for our troubles. We did not create an environment uncongenial to our species, nature did. One would think that nature was trying to kill us off, or get us to suicide ourselves once the blunder of consciousness came upon us. What was nature thinking? We tried to anthropomorphize it, to romanticize it, to let it into our hearts. But nature kept its distance, leaving us to our own devices. So be it. Survival is a two-way street. Once we settle ourselves off-world, we can blow up this planet from outer space. It's the only way to be sure its stench will not follow us. Let it save itself if it can--the condemned are known for the acrobatics they will execute to wriggle out of their sentences. But if it cannot destroy what it has made, and what could possibly unmake it, then may it perish along with every other living thing it has introduced to pain.

If I found a job, a project, an idea or a person I wanted-I'd have to depend on the whole world. Everything has strings leading to everything else. We're all so tied together. We're all in a net, the net is waiting, and we're pushed into it by one single desire. You want a thing and it's precious to you. Do you know who is standing ready to tear it out of your hands? You can't know, it may be so involved and so far away, but someone is ready, and you're afraid of them all. And you cringe and you crawl and you beg and you accept them-just so they'll let you keep it. And look at whom you come to accept.

Once she started, she couldn’t stop, the edges of her memories sawing at her as she sat at her lessons, as she did her homework and ran pitifully around the hockey field and ate her tasteless meals in the dining hall. The memories weren’t the overwhelming ones she’d had that had made her sick. These were like a violin bow grinding along the edge of a single string, shrill, waiting for some kind of resolution to make it stop. The only thing that worked was writing.

Perhaps hell is a tiny place, a single flame, Clod thought now. The thought moved him, and he imagined the pureness of the flame as he gazed through the darkness at the candelabra. Just one flame could contain all the evil that has come and gone. What if it were that easy to snuff it out? Would he do it? No. He would never interfere. Just the image of the white light, the way it swayed in the slow breeze floating through the manor, that was what mattered to him. If he could draw that, he thought, and make the picture move somehow, that would be interesting. He could suspend the drawing from a string and let the wind push it to and fro. Strange, he thought next, that fire hurts to the touch. Fire gives light. Shouldn’t the darkness hurt instead? Hell ought to be pure darkness. Nothingness. The thought chilled him. There was nothing to see there. He shrugged and pulled his back away from the wall, feeling his shirt stick to his skin with sweat.

First Love I ne’er was struck before that hour With love so sudden and so sweet, Her face it bloomed like a sweet flower And stole my heart away complete. My face turned pale as deadly pale, My legs refused to walk away, And when she looked, what could I ail? My life and all seemed turned to clay. And then my blood rushed to my face And took my eyesight quite away, The trees and bushes round the place Seemed midnight at noonday. I could not see a single thing, Words from my eyes did start— They spoke as chords do from the string, And blood burnt round my heart. Are flowers the winter’s choice? Is love’s bed always snow? She seemed to hear my silent voice, Not love's appeals to know. I never saw so sweet a face As that I stood before. My heart has left its dwelling-place And can return no more.

They were both somewhat short-sighted, and when it was the custom to wear a single eyeglass and string they wore a single eyeglass and string; when it was the custom to wear a double glass they wore a double glass; when it was the custom to wear spectacles they wore spectacles straightway, all without reference to the particular variety of defect in their own vision. When Wordsworth was enthroned they carried pocket copies; and when Shelley was belittled they allowed him to grow dusty on their shelves.

Rin had come to see that every single person was their own song. Some songs were quiet, some songs were reminiscent of others. But some other songs reminded her of the dramatic sound found in her childhood synagogue. Some people pressed into key changes, deep soulful strings clipped with a piano solo. Jo Reed held a symphony inside her.

Each lapse is like the letting fall of a ball of string which one is carefully winding up; a single slip undoes more than a great many turns will wind again.

The planet you inhabit is a single plane of infinite dimensions, stretched like a guitar string, and standing before you like a concubine waiting for your command.

People didn’t realize how important it was to hug the single people in church—particularly the widows.

Sometimes, I feel discriminated against, but it does not make me angry. It merely astonishes me. How can any deny themselves the pleasure of my company? It's beyond me. But in the main, I feel like a brown bag of miscellany propped against a wall. Against a wall In company with other bags, white, red and yellow. Pour out the contents, and there is discovered a jumble of small, things priceless and worthless. A first water diamond, an empty spool bits of broken glass, lengths of string, a key to a door long since crumbled away, a rusty knife-blade, old shoes saved for a road that never was and never will be, a nail bent under the weight of things too heavy for any nail, a dried flower or two still a little fragrant. in your hand is the brown bag. On the ground before you is the jumble it held so much like the jumble in the bags could they be emptied that all might be dumped in a single heap and the bags refilled without altering the content of any greatly. A bit of colored glass more or less would not matter. Perhaps that is how the Great Stuffer of Bags filled them in the first place, who knows?

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

It was one of those August afternoons that Montana does just right, with heavy gray thunderheads crowding out the movie-blue sky and the feeling of a guaranteed downpour just beginning to change the touch of the air, the color of the sunlight. We were right in the middle of the maybe twenty minutes before the storm would hit, when it was only just promised, and every single thing in its path—from the strings of multicolored turn flags over the pool to the sheen of the oily puddles in the parking lot to the smell of fried foods wafting over from the Burger Box on the corner—was somehow more alive within that promise.

Yet when she'd opened her mouth to speak, all that had come out had been a string of lies. Every single one of them had been told to protect the changelings, to protect Lucas. They'd come from a hidden part of her she'd never before seen, a bright, hard knot of fierce loyalty and utter determination. That part wouldn't let her do anything to hurt the panther who'd kissed her and smashed the glass walls of her existence into a million slivers. It was then she'd realized that, for the first time in her life, she wanted something else even more than she wanted to belong. If only for a moment, if only for a second, she wanted to be loved.

Prayers For Rain' begins like practically every Cure song, with an introduction that's longer than most Bo Diddley singles. Never mind the omnipresent chill, why does Robert Smith write such interminable intros? I can put on 'Prayers For Rain,' then cook an omelette in the time it takes him to start singing. He seems to have a rule that the creepier the song, the longer the wait before it actually starts. I'm not sure if Smith spends the intro time applying eye-liner or manually reducing his serotonin level, but one must endure a lot of doom-filled guitar patterns, cathedral-reverb drums and modal string synth wanderings during the opening of 'Prayers for Rain.

How flimsy our existence is, how many conditions must exist and must continue to exist over the course of millions of years so that a single flower or a single pencil or a single book might exist... For a moment I felt like a string being strummed by thousands of fingers, and I closed my eyes. Our existence on this planet hangs by a thread, every tomato and every onion is such an enormous miracle you could collapse with awe in a vegetable market.

One consequence of this formulation is that a physical principle that unites many smaller physical theories must autoomatically unite many seemingly unrelated branches of mathematics. This is precisely what string theory accomplishes. In fact, of all physical theories, string theory unites by far the largest number of branches of mathematics into a single coherent picture. Perhaps one of the by-products of the physicists' quest for unification will be the unification of mathematics as well.

It is your telepathic ability when a person crosses your mind at any point of the day. They came to mind for a reason. They may be attempting to reach out to you. We are all connected by a universal web of consciousness. Through a thread a message makes its way to the mind. One pluck of a string on the web and it sends a telegram through a single sensitive nerve that receives the message and transports it through the brain or heart depending upon the nature of the message and in which it resonates. We're all part of the same web.

Mid-December then and still no snow. Strange Chicago crèches appeared in front yards: Baby Jesus, freed from the manger, leaned against a Santa sled half his height. He was crouching, as if about to jump; he wore just a diaper. Single strings of colored lights lay across bushes, as if someone had hatefully thrown them there. We patched the roof of a Jamaican immigrant whose apartment had nothing in it but hundreds of rags, spread across the floor and hanging from interior clotheslines. Nobody asked why. As we left, she offered us three DietRite Colas.

And so I make my way across the room steadily, carefully. Hands shaking, I pull the string, lifting my blinds. They rise slowly, drawing more moonlight into the room with every inch And there he is, crouched low on the roof. Same leather jacket. The hair is his, the cheekbones, the perfect nose . . . the eyes: dark and mysterious . . . full of secrets. . . . My heart flutters, body light. I reach out to touch him, thinking he might disappear, my fingers disrupted by the windowpane. On the other side, Parker lifts his hand and mouths: “Hi.” I mouth “Hi” back. He holds up a single finger, signalling me to hold on. He picks up a spiral-bound notebook and flips open the cover, turning the first page to me. I recognize his neat, block print instantly: bold, black Sharpie. I know this is unexpected . . . , I read. He flips the page. . . . and strange . . . I lift an eyebrow. . . . but please hear read me out. He flips to the next page. I know I told you I never lied . . . . . . but that was (obviously) the biggest lie of all. The truth is: I’m a liar. I lied. I lied to myself . . . . . . and to you. Parker watches as I read. Our eyes meet, and he flips the page. But only because I had to. I wasn’t supposed to fall in love with you, Jaden . . . . . . but it happened anyway. I clear my throat, and swallow hard, but it’s squeezed shut again, tight. And it gets worse. Not only am I a liar . . . I’m selfish. Selfish enough to want it all. And I know if I don’t have you . . . I hold my breath, waiting. . . . I don’t have anything. He turns another page, and I read: I’m not Parker . . . . . . and I’m not going to give up . . . . . . until I can prove to you . . . . . . that you are the only thing that matters. He flips to the next page. So keep sending me away . . . . . . but I’ll just keep coming back to you. Again . . . He flips to the next page. . . . and again . . . And the next: . . . and again. Goose bumps rise to the surface of my skin. I shiver, hugging myself tightly. And if you can ever find it in your (heart) to forgive me . . . There’s a big, black “heart” symbol where the word should be. I will do everything it takes to make it up to you. He closes the notebook and tosses it beside him. It lands on the roof with a dull thwack. Then, lifting his index finger, he draws an X across his chest. Cross my heart. I stifle the happy laugh welling inside, hiding the smile as I reach for the metal latch to unlock my window. I slowly, carefully, raise the sash. A burst of fresh honeysuckles saturates the balmy, midnight air, sickeningly sweet, filling the room. I close my eyes, breathing it in, as a thousand sleepless nights melt, slipping away. I gather the lavender satin of my dress in my hand, climb through the open window, and stand tall on the roof, feeling the height, the warmth of the shingles beneath my bare feet, facing Parker. He touches the length of the scar on my forehead with his cool finger, tucks my hair behind my ear, traces the edge of my face with the back of his hand. My eyes close. “You know you’re beautiful? Even when you cry?” He smiles, holding my face in his hands, smearing the tears away with his thumbs. I breathe in, lungs shuddering. “I’m sorry,” he whispers, black eyes sincere. I swallow. “I know why you had to.” “Doesn’t make it right.” “Doesn’t matter anymore,” I say, shaking my head. The moon hangs suspended in the sky, stars twinkling overhead, as he leans down and kisses me softly, lips meeting mine, familiar—lips I imagined, dreamed about, memorized a mil ion hours ago. Then he wraps his arms around me, pulling me into him, quelling every doubt and fear and uncertainty in this one, perfect moment.

Beauty wasn’t the treachery he imagined it to be, rather it was an uncharted land where one could make a thousand fatal errors, a wild and indifferent paradise without signposts of evil or good. In spite of all the refinements of civilization that conspired to make art—the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard’s canvases—beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.

Still, this moment belongs to the two of them, Mom and this handsome stranger. He reaches the passenger side door and stares down at her with steely violet eyes-down at my mother who never cries, down at my mother who’s now bawling like a spanked child-his face contorted in a rainbow of so many emotions, some that I can’t even name. Then Grom the Triton king sinks to his knees in front of her, and a single tear spills down his face. “Nalia,” he whispers. And then my mother slaps him. It’s not the kind of slap you get for talking back. It’s not the kind of punch she dealt Galen and Toraf in our kitchen. It’s the kind of slap a woman gives a man when he’s hurt her deeply. And Grom accepts it with grace. “I looked for you,” she shouts, even though he’s inches from her. Slowly, as if in a show of peace, he takes the hand that slapped him and sandwiches it between his own. He seems to revel in the feel of her touch. His face is pure tenderness, his voice like a massage to the nerves. “And I looked for you.” “Your pulse was gone,” she insists. By now she chokes back sobs between words. She’s fighting for control. I’ve never seen my mother fight for control. “As was yours.” I realize Grom knows what not to say, what not to do to provoke her. He is the complete opposite of her, or maybe just a completion of her. Her eyes focus on his wrist, and tears slip down her face, leaving faint trails of mascara on her cheeks. He smiles and slowly pulls his hand away. I think he’s going to show her the bracelet he’s wearing, but instead he rips it off his wrist and holds it out for her inspection. From where I’m standing it looks like a single black ball tied to some sort of string. By my mom’s expression, this black ball has meaning. So much meaning that I think she’s forgotten to breathe. “My pearl,” she whispers. “I thought I’d lost it.” He encloses it in her hand. “This isn’t your pearl, love. That one was lost in the explosion with you. For almost an entire season, I scoured the oyster beds, looking for another one that would do. I don’t know why, but I thought maybe if I found another perfect pearl, I would somehow find you, too. When I found this though, it didn’t bring me the peace I’d hoped for. But I couldn’t bring myself to discard it. I’ve worn it on my wrist ever since.” This is all it takes for my mom to throw herself into his arms, bringing Rachel partially with her. Even so, it’s probably the most moving moment I’ve ever encountered in my eighteen years. Or at least it would be, if my mom weren’t clinging to a man who is not my dad.

Unforunately, string theorists are, at present, at a loss to explain why ten dimensions are singled out. The answer lies deep within mathematics, in an area called modular functions. Whenever we manipulate the KSV loop diagrams created by interacting strings, we encounter these strange modular functions, where the number ten appears in the strangest places. These modular functions are as mysterious as the man who invented them, the mystic from the East. Perhaps if we better understood the work of this Indian genius, we would understand why we live in our present universe.

Yet when she'd opened her mouth to speak, all that had come out had been a string of lies. Every single one of them had been told to protect the changelings, to protect Lucas. They'd come from a hidden part of her she'd never before seen, a bright, hard knot of fierce loyalty and utter determination. That part wouldn't let her do anything to hurt the panther who'd kissed her and smashed the glass walls of her existence into a million slivers. It was then she'd realized that, for the first time in her life, she wanted something else even more than she wanted to belong. If only for a moment, if only for a second, she wanted to be loved.

When we have a broader vision for our lives, many of the decisions we face become simple, because we have a reliable framework for making them. Because we made a single decision — that is, deciding on a big-picture value — we can see all other decisions as parts of a whole instead of as an endless string of isolated decisions. When a decision touches on our values, we have little to think about. With our internal world in order we can move outward in the right direction. These values can guide our lives in the big pieces and the day-to-day stuff. Whether we’re going to Thailand or the grocery store, what we do can flow naturally out of who we are.

It is not proper for man’s life to be a circle, she thought, or a string of circles dropping off like zeros behind him—man’s life must be a straight line of motion from goal to farther goal, each leading to the next and to a single growing sum, like a journey down the track of a railroad, from station to station to—oh, stop it!

Oh, Cole,” she said, “the jewelry box is lovely—” “It’s not for jewelry.” She gazed up at him, surprised by his somber tone. “Then what—” “It’s a memory box, Devon. Something in which to store all those memories you collect, so you’ll never lose a single one.” He paused, looking both tender and serious at once. “Unlike the wedding gift you gave me, this one comes with strings attached. If you accept it, I expect the next fifty years of your life in return to help fill it up.” Devon bit her lip to hide a wayward, trembling smile. “Only the next fifty?” He shrugged. “We can negotiate after that.” She nodded, swallowing past the tight knot in her throat. “That sounds like a pretty fair deal to me.

When the Ramanujan function is generalized, the number 24 is replaced by the number 8. Thus the critical number for the superstring is 8 + 2, or 10. This is the origin of the tenth dimension. The string vibrates in ten dimensions because it requires these generalized Ramanujan functions in order to remain self-consistent. In other words, physicists have not the slightest understanding of why ten and 26 dimensions are singled out as the dimension of the string. It's as though there is some kind of deep numerology being manifested in these functions that no one understands. It is precisely these magic numbers appearing in the elliptic modular function that determines the dimension of space-time to be ten.

In spite of all the refinements of civilization that conspired to make art—the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard’s canvases—beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.

Ben developed a similarly Byzantine system for memorizing binary digits, which enables him to convert any ten-digit-long string of ones and zeros into a unique image. That’s 210, or 1,024, images set aside for binaries. When he sees 1101001001, he immediately sees it as a single chunk, an image of a card game. When he sees 0111011010, he instantaneously conjures up an image of a cinema. In international memory competitions, mental athletes are given sheets of 1,200 binary digits, thirty to a row, forty rows to a page. Ben turns each row of thirty digits into a single image. The number 110110100000111011010001011010, for example, is a muscleman putting a fish in a tin. At the time, Ben held the world record for having learned 3,705 random ones and zeroes in half an hour.

The purpose and theme of the sacred chant was to bind consciousness across the universe in a single string. It extended across universes known and unknown, and echoed in every heart throbbing. The people with intellect enough could grasp to the message being relayed and others lead ephemeral lives without deciphering it. The echoes of chant were immortal and pervaded every knit of space and time, like binding force unseen, like a string holding every pearl in place.

To love there must be union with the beloved, but also separation. For love is a creative tension; it is like the string of a musical instrument---a single string yet pulled in opposite directions. If there is too little tension, or if there is too much so that the string breaks, it will give forth no sound. The perfection of love is like the perfect tuning of the string, for love attains fulfillment as there is the maximum of union between two beings who remain definitely separate. Unity in duality is the law of the finite.

He went upstairs and opened the telegram; it was addressed to a department in the British Consulate, and the figures which followed had an ugly look like the lottery tickets that remained unsold on the last day of a draw. There was 2674 and then a string of five-figure numerals: 42811 79145 72312 59200 80947 62533 10605 and so on. It was his first telegram and he noticed that it was addressed from London. He was not even certain (so long ago his lesson seemed) that he could decode it, but he recognised a single group, 59200, which had an abrupt and monitory appearance as though Hawthorne that moment had come accusingly up the stairs. Gloomily he took down Lamb's 'Tales from Shakespeare' - how he had always detested Elia and the essay on Roast Pork. The first group of figures, he remembered, indicated the page, the line and the word with which the coding began. 'Dionysia, the wicked wife of Cleon,' he read, 'met with an end proportionable to her deserts'. He began to decode from 'deserts'. To his surprise something really did emerge. It was rather as though some strange inherited parrot had begun to speak.

You know those particular stand out beauties you see once in a blue moon walking by themselves down the high street on a Saturday afternoon or sitting on a park bench all alone during their lunch break in the middle of summer, who immediately catch your eye, looking utterly bored out of their minds and just begging for some single handsome stranger to come and distract them away for twenty minutes or so from their mundane and repetitive daily worlds. That special girl who right away tugged so hard on your heart strings that your blood turned to ice and your soul melted to its very core because you knew she was completely your type without even having spoken to her. All you had to go on was a gut feeling and that special crazy something about her that spoke to every inch of your fibre and being and said this girl is the one for you, my friend, if you would only step up to the damn plate, put all your fears of public rejection, humiliation and inhibitions behind you and gather the courage, will power and determination to go and get her. That rare, radiant and beautiful Angel who caught a glimpse of you, too, and smiled back at you in turn while you were within their proximity but, alas, you had absolutely nothing to say to them in that moment. Nothing. No simple magic words, no charming chat up line, just a blank frozen mind and a stuttering tongue. But in reality, just to say one word, utter one stupid, tiny, silly little insignificant syllable would surely have been a million times better than saying nothing at all and living a life full of regret of not acting in the moment. And then poof, just like that, she's gone forever, out of sight, but never out of your mind.

In string theory, the situation is very different. The law of motion dictates the laws of the forces. This is because all forces in string theory have the same simple origin-they come from the breaking and joining of strings. Once you describe how strings move freely, all you have to do to add forces is add the possibility that a string can break into two strings. By reversing the process in time, you can rejoin two strings into a single string (see Fig. 5). The law for breaking and joining turns out to be strongly prescribed, to be consistent with special relativity and quantum theory. Force and motion are unified in a way that would have been impossible in a theory of particles as points.

In 1994 another bombshell was dropped. Edward Witten of Princeton's Institute for Advanced Study and Paul Townsend of Cambridge University speculated that all five string theories were in fact the same theory-but only if we add an eleventh dimension. From the vantage point of the eleventh dimension, all five different theories collapsed into one! The theory was unique after all, but only if we ascended to the mountaintop of the eleventh dimension. In the eleventh dimension a new mathematical object can exist, called the membrane (e.g., like the surface of a sphere). Here was the amazing observation: if one dropped from eleven dimensions down to ten dimensions, all five string theories would emerge, starting from a single membrane. Hence all five string theories were just different ways of moving a membrane down from eleven to ten dimensions. (To visualize this, imagine a beach ball with a rubber band stretched around the equator. Imagine taking a pair of scissors and cutting the beach ball twice, once above and once below the rubber band, thereby lopping off the top and bottom of the beach ball. All that is left is the rubber band, a string. In the same way, if we curl up the eleventh dimension, all that is left of a membrane is its equator, which is the string. In fact, mathematically there are five ways in which this slicing can occur, leaving us with five different string theories in ten dimensions.)

A single strum of the strings or even one pluck is too complex, too complete in itself to admit any theory. Between this complex sound—so strong that it can stand alone—and that point of intense silence preceding it, called ma, there is a metaphysical continuity that defies analysis. In its complexity and integrity this single sound can stand alone. To the Japanese listener who appreciates this refined sound, the unique idea of ma—the unsounded part of this experience—has at the same time a deep, powerful, and rich resonance that can stand up to the sound. …the Japanese sound ideal: sound, in its ultimate expressiveness, being constantly refined, approaches the nothingness of that wind in the bamboo grove.

It was a rustling sound that woke me up. Because I'd had my eyes closed, the whiteness of the room seemed even brighter than before. There wasn't a shadow anywhere in front of me, and every object, every angle and curve stood out so sharply it made my eyes hurt. That's when Maman's friends came in. There were about ten in all, and they floated into the blinding light without a sound. They sat down without a single chair creaking. I saw them more clearly than I had ever seen anyone, and not one detail of their faces or their clothes escaped me. But I couldn't hear them, and it was hard for me to believe that they really existed. Almost all the women were wearing aprons, and the strings, which were tied tight around their waists, made their bulging stomachs stick out even more. I'd never noticed what huge stomachs old women can have. Almost all the men were skinny and carried canes. What struck me most about their faces was that I couldn't see their eyes, just a faint glimmer in a nest of wrinkles. When they'd sat down, most of them looked at me and nodded awkwardly, their lips sucked in by their toothless mouths, so that I couldn't tell if they were greeting me or if it was just a nervous tic. I think they were greeting me. It was then that I realized they were all sitting across from me, nodding their heads, grouped around the caretaker. For a second I had the ridiculous feeling that they were there to judge me.

About a block away from them there lived another Lithuanian family, consisting of an elderly widow and one grown son; their name was Majauszkis, and our friends struck up an acquaintance with them before long. One evening they came over for a visit, and naturally the first subject upon which the conversation turned was the neighborhood and its history; and then Grandmother Majauszkiene, as the old lady was called, proceeded to recite to them a string of horrors that fairly froze their blood. She was a wrinkled-up and wizened personage--she must have been eighty--and as she mumbled the grim story through her toothless gums, she seemed a very old witch to them. Grandmother Majauszkiene had lived in the midst of misfortune so long that it had come to be her element, and she talked about starvation, sickness, and death as other people might about weddings and holidays. The thing came gradually. In the first place as to the house they had bought, it was not new at all, as they had supposed; it was about fifteen years old, and there was nothing new upon it but the paint, which was so bad that it needed to be put on new every year or two. The house was one of a whole row that was built by a company which existed to make money by swindling poor people. The family had paid fifteen hundred dollars for it, and it had not cost the builders five hundred, when it was new. Grandmother Majauszkiene knew that because her son belonged to a political organization with a contractor who put up exactly such houses. They used the very flimsiest and cheapest material; they built the houses a dozen at a time, and they cared about nothing at all except the outside shine. The family could take her word as to the trouble they would have, for she had been through it all--she and her son had bought their house in exactly the same way. They had fooled the company, however, for her son was a skilled man, who made as high as a hundred dollars a month, and as he had had sense enough not to marry, they had been able to pay for the house. Grandmother Majauszkiene saw that her friends were puzzled at this remark; they did not quite see how paying for the house was "fooling the company." Evidently they were very inexperienced. Cheap as the houses were, they were sold with the idea that the people who bought them would not be able to pay for them. When they failed--if it were only by a single month--they would lose the house and all that they had paid on it, and then the company would sell it over again. And did they often get a chance to do that? Dieve! (Grandmother Majauszkiene raised her hands.) They did it--how often no one could say, but certainly more than half of the time. They might ask any one who knew anything at all about Packingtown as to that; she had been living here ever since this house was built, and she could tell them all about it. And had it ever been sold before? Susimilkie! Why, since it had been built, no less than four families that their informant could name had tried to buy it and failed.

In the old days, Christmas lights had come in short strings that were wired serially. If a single bulb burned out or even just loosened in its socket, the circuit was broken and the entire string went dark. One of the season’s rituals for Gary and Chip had been to tighten each little brass-footed bulb in a darkened string and then, if this didn’t work, to replace each bulb in turn until the dead culprit was found. (What joy the boys had taken in the resurrection of a string!) By the time Denise was old enough to help with the lights, the technology had advanced. The wiring was parallel, and the bulbs had snap-in plastic bases. A single faulty light didn’t affect the rest of the community but identified itself instantly for instant replacement . . .

THE FAIRY REEL If I were young as once I was, and dreams and death more distant then, I wouldn’t split my soul in two, and keep half in the world of men, So half of me would stay at home, and strive for Fäerie in vain, While all the while my soul would stroll up narrow path, down crooked lane, And there would meet a fairy lass and smile and bow with kisses three, She’d pluck wild eagles from the air and nail me to a lightning tree And if my heart would run from her or flee from her, be gone from her, She’d wrap it in a nest of stars and then she’d take it on with her Until one day she’d tire of it, all bored with it and done with it She’d leave it by a burning brook, and off brown boys would run with it. They’d take it and have fun with it and stretch it long and cruel and thin, They’d slice it into four and then they’d string with it a violin. And every day and every night they’d play upon my heart a song So plaintive and so wild and strange that all who heard it danced along And sang and whirled and sank and trod and skipped and slipped and reeled and rolled Until, with eyes as bright as coals, they’d crumble into wheels of gold…. But I am young no longer now; for sixty years my heart’s been gone To play its dreadful music there, beyond the valley of the sun. I watch with envious eyes and mind, the single-souled, who dare not feel The wind that blows beyond the moon, who do not hear the Fairy Reel. If you don’t hear the Fairy Reel, they will not pause to steal your breath. When I was young I was a fool. So wrap me up in dreams and death.

With his tongue between his teeth, Officer Wally cocked his weapon and took aim. BANG! Mario felt the bullet enter his left foot, but carried on running undeterred. In place of screams, there was laughter. The golden ecstasy supplied by the drug was at its peak. It wouldn’t be long now; he could feel it. BANG! The second bullet caught him in his right foot, yet he dared not stop. It was near now, so near... BANG! “He missed,” Mario thought initially, but as he brought his hands to his lips, he tasted iron. Both his palms were bleeding profusely, and so were his feet. He laughed once again – head spinning, heart dancing, mind burdened by his search for meaning – his wet eyes on the velvet sky. The clouds were clearing. ‘The spear!’ he shouted to the heavens above. ‘Don’t forget the spear!’ It happened faster than any pair of eyes could capture it: the fourth bullet cut through the air with a tangible screech, and the nearby building exploded into applause. Like a marionette whose strings had been cut, Mario Fantoccio fell theatrically, the wound at his side painting the cobbles in Marsmeyer’s No.4 vermillion red. The ground beneath him split down the middle, and from the depths of asphalt, he heard music. It was the Music of Strings, of Celestial Spheres – an underworld rhapsody with dark aftertones, gushing out of the earth like puss from a wound. It was alluring, resplendent and at the same time, terrifying. Demonic and eternal, devastating and yet hypnotizing, the Sounds of Hell beckoned, and like an obedient child, Mario followed, sinking deeper and deeper into the Underworld. In a perfect moment of synchronicity, the orange sun of dusk broke through the rainclouds and cast a single beam of sunlight upon Mario’s forehead. He closed his eyes, his mind at ease, his head full of Music. The cobbles trembled under the approaching sound of footsteps. ‘Where is he? Where did he go?’ said the pursuing man. ‘H-he just vanished, sarge. In-into thin air!’ ‘Don’t be silly, Wally. People don’t just vanish into thin air. I know I got him. Heaven preserve me, I got him four times!’ ‘Yes, sarge.’ ‘What’s this now?’ ‘Rather looks like our man, sarge. Or at least, his rough outline filled out in blood. Well, except—’ ‘—except this one’s got wings,’ said the sergeant, his knees cracking as he crouched. He cautiously prodded the red shape with his index. ‘This ain’t blood, either.’ ‘Sir?’ The sergeant shoved the finger in his mouth. ‘Theatrical red paint.

Today it is considered bad manners to point to any Soviet source of American anti-Americanism. But throughout their history, Americans had never before been anti-American. They voluntarily came to the US. They were always a proud and independent people who loved their country. Ares is the Greek god of war. He was usually accompanied in battle by his sister Eris ( goddess of discord ) and by his 2 sons, Deimos ( fear ) and Phobos ( terror ). Khrushchev and Ceausescu. Both men rose to lead their countries without ever having earned a single penny in any productive job. Neither man had the slightest idea about what made an economy work and each passionately believed that stealing from the rich was the magic wand that would cure all his country's economic ills. Both were leading formerly free countries, transformed into Marxist dictatorships through massive wealth redistribution, which eventually made the government the mother and father of everything. Disinformation has become the bubonic plague of our contemporary life. Marx used disinformation to depict money as an odious instrument of capitalist exploitation. Lenin's disinformation brought Marx's utopian communism to life. Hitler resorted to disinformation to portray the Jews as an inferior and loathsome race so as to rationalize his Holocaust. Disinformation was the tool used by Stalin to dispossess a third of the world and to transform it into a string of gulags. Khrushchev's disinformation widened the gap between Christianity and Judaism. Andropov's disinformation turned the Islamic world against the US and ignited the international terrorism that threatens us today. Disinformation has also generated worldwide disrespect and even contempt for the US and its leaders.

Sadly, we were going to have to flee. We’d need to find somewhere new, and soon, and that would mean paying for our own security. I went back to my notebooks, started contacting security firms again. Meg and I sat down to work out exactly how much security we could afford, and how much house. Exactly then, while we were revising our budget, word came down: Pa was cutting me off. I recognized the absurdity, a man in his mid-thirties being financially cut off by his father. But Pa wasn’t merely my father, he was my boss, my banker, my comptroller, keeper of the purse strings throughout my adult life. Cutting me off therefore meant firing me, without redundancy pay, and casting me into the void after a lifetime of service. More, after a lifetime of rendering me otherwise unemployable. I felt fatted for the slaughter. Suckled like a veal calf. I’d never asked to be financially dependent on Pa. I’d been forced into this surreal state, this unending Truman Show in which I almost never carried money, never owned a car, never carried a house key, never once ordered anything online, never received a single box from Amazon, almost never traveled on the Underground. (Once, at Eton, on a theater trip.) Sponge, the papers called me. But there’s a big difference between being a sponge and being prohibited from learning independence. After decades of being rigorously and systematically infantilized, I was now abruptly abandoned, and mocked for being immature? For not standing on my own two feet? The question of how to pay for a home and security kept Meg and me awake at nights. We could always spend some of my inheritance from Mummy, we said, but that felt like a last resort. We saw that money as belonging to Archie. And his sibling. It was then that we learned Meg was pregnant.

The Five Great Problems in Theoretical Physics: Problem 1: Combine general relativity and quantum theory into a single theory that can claim to be the complete theory of nature. This is called the problem of quantum gravity. Problem 2: Resolve the problems in the foundations of quantum mechanics, either by making sense of the theory as it stands or by inventing a new theory that does make sense. Problem 3: Determine whether or not the various particles and forces can be unified in a theory that explains them all as manifestations of a single, fundamental entity. Problem 4: Explain how the values of the free constants in the standard model of particle physics are chosen in nature. Problem 5: Explain dark matter and dark energy. Or, if they don't exist, determine how and why gravity is modified on large scales. More generally, explain why the constants of the standard model of cosmology, including the dark energy, have the values they do.

It is the best of times in physics. Physicists are on the verge of obtaining the long-sought theory of everything. In a few elegant equations, perhaps concise enough to be emblazoned on a T-shirt, this theory will reveal how the universe began and how it will end. The key insight is that the smallest constituents of the world are not particles, as had been supposed since ancient times, but “strings”—tiny strands of energy. By vibrating in different ways, these strings produce the essential phenomena of nature, the way violin strings produce musical notes. String theory isn’t just powerful; it’s also mathematically beautiful. All that remains to be done is to write down the actual equations. This is taking a little longer than expected. But, with almost the entire theoretical-physics community working on the problem—presided over by a sage in Princeton, New Jersey—the millennia-old dream of a final theory is sure to be realized before long. It is the worst of times in physics. For more than a generation, physicists have been chasing a will-o’-the-wisp called string theory. The beginning of this chase marked the end of what had been three-quarters of a century of progress. Dozens of string-theory conferences have been held, hundreds of new Ph.D.’s have been minted, and thousands of papers have been written. Yet, for all this activity, not a single new testable prediction has been made; not a single theoretical puzzle has been solved. In fact, there is no theory so far—just a set of hunches and calculations suggesting that a theory might exist. And, even if it does, this theory will come in such a bewildering number of versions that it will be of no practical use: a theory of nothing. Yet the physics establishment promotes string theory with irrational fervor, ruthlessly weeding dissenting physicists from the profession. Meanwhile, physics is stuck in a paradigm doomed to barrenness.

Everything happens for a reason.” People said it to me all the time. I know they meant to comfort; the words that followed usually had something to do with the good to be found in everything, or my “path” and how the meaning of my illness would one day be clear. I’d feel my chest tighten every time and do my best not to roll my eyes. Everything happens for a reason? I don’t see it that way at all. To me, only the first part is clear: Everything happens. Then other things happen, and other things, still. Out of each of these moments, we make something. Any number of somethings, in fact. What comes of our own actions becomes the “reason.” It is no predestined thing. We may arrive where we are by way of a specific path—we can take just one at a time—but it’s never the only one that could have led to our destination. Nor does a single event, even a string of them, point decisively to a single landing spot. There are infinite possible versions of our lives. Meaning is not what happens, but what we do with what happens when it does. “I don’t know why it happened,” I said. “Um . . . do you?

That’s why I wanted to use Supper at Six to teach chemistry. Because when women understand chemistry, they begin to understand how things work.” Roth looked confused. “I’m referring to atoms and molecules, Roth,” she explained. “The real rules that govern the physical world. When women understand these basic concepts, they can begin to see the false limits that have been created for them.” “You mean by men.” “I mean by artificial cultural and religious policies that put men in the highly unnatural role of single-sex leadership. Even a basic understanding of chemistry reveals the danger of such a lopsided approach.” “Well,” he said, realizing he’d never seen it that way before, “I agree that society leaves much to be desired, but when it comes to religion, I tend to think it humbles us—teaches us our place in the world.” “Really?” she said, surprised. “I think it lets us off the hook. I think it teaches us that nothing is really our fault; that something or someone else is pulling the strings; that ultimately, we’re not to blame for the way things are; that to improve things, we should pray.

Paint in several colors was squeezed out of tubes and mixed and applied to woven fabric stretched on a wooden frame so artfully we say we see a woman hanging out a sheet rather than oil on canvas. Ana Teresa Fernandez’s image on that canvas is six feet tall, five feet wide, the figure almost life-size. Though it is untitled, the series it’s in has a title: Telaraña. Spiderweb. The spiderweb of gender and history in which the painted woman is caught; the spiderweb of her own power that she is weaving in this painting dominated by a sheet that was woven. Woven now by a machine, but before the industrial revolution by women whose spinning and weaving linked them to spiders and made spiders feminine in the old stories. In this part of the world, in the creation stories of the Hopi, Pueblo, Navajo, Choctaw, and Cherokee peoples, Spider Grandmother is the principal creator of the universe. Ancient Greek stories included an unfortunate spinning woman who was famously turned into a spider as well as the more powerful Greek fates, who spun, wove, and cut each person’s lifeline, who ensured that those lives would be linear narratives that end. Spiderwebs are images of the nonlinear, of the many directions in which something might go, the many sources for it; of the grandmothers as well as the strings of begats. There’s a German painting from the nineteenth century of women processing the flax from which linen is made. They wear wooden shoes, dark dresses, demure white caps, and stand at various distances from a wall, where the hanks of raw material are being wound up as thread. From each of them, a single thread extends across the room, as though they were spiders, as though it came right out of their bellies. Or as though they were tethered to the wall by the fine, slim threads that are invisible in other kinds of light. They are spinning, they are caught in the web. To spin the web and not be caught in it, to create the world, to create your own life, to rule your fate, to name the grandmothers as well as the fathers, to draw nets and not just straight lines, to be a maker as well as a cleaner, to be able to sing and not be silenced, to take down the veil and appear: all these are the banners on the laundry line I hang out.

Or think of the tale of the blind men who encounter an elephant for the first time. One wise man, touching the ear of the elephant, declares the elephant is flat and two-dimensional like a fan. Another wise man touches the tail and assumes the elephant is like rope or a one-dimensional string. Another, touching a leg, concludes the elephant is a three-dimensional drum or a cylinder. But actually, if we step back and rise into the third dimension, we can see the elephant as a three-dimensional animal. In the same way, the five different string theories are like the ear, tail, and leg, but we still have yet to reveal the full elephant, M-theory. Holographic Universe As we mentioned, with time new layers have been uncovered in string theory. Soon after M-theory was proposed in 1995, another astonishing discovery was made by Juan Maldacena in 1997. He jolted the entire physics community by showing something that was once considered impossible: that a supersymmetric Yang-Mills theory, which describes the behavior of subatomic particles in four dimensions, was dual, or mathematically equivalent, to a certain string theory in ten dimensions. This sent the physics world into a tizzy. By 2015, there were ten thousand papers that referred to this paper, making it by far the most influential paper in high-energy physics. (Symmetry and duality are related but different. Symmetry arises when we rearrange the components of a single equation and it remains the same. Duality arises when we show that two entirely different theories are actually mathematically equivalent. Remarkably, string theory has both of these highly nontrivial features.)

Death Vision I think it’s a multiplication of sight, Like after a low hovering autumn rain When the invisible web of funnel weaves And sheetweb weavers all at once are seen Where they always were, spread and looping The grasses, every strand, waft and leaf- Crest elucidated with water-light and frost, completing the fullest aspect of field. Or maybe the grace of death is split-second Transformation of knowledge, an intricate, Turning realization, as when a single Sperm-embracing deep ovum transforms, In an instant, from stasis to replicating, Star-shifting shimmer, rolls, reaches, Alters its plane of intentions, becomes A hoofing, thumping host of purpose. I can imagine not merely The falling away of blank walls And blinds in that moment, not merely A shutter flung open for the first time Above a valley of interlocking forests And constellations but a sweeping, Penetrating circumference of vision Encompassing both knotweed bud And its seed simultaneously, seeing Blood bone and its ash as one, The repeated light and fall and flight Of hawk-owl and tundra vole As a union of origin and finality. A mathematics of flesh and space might Take hold if we ask for it in that last Moment, might appear as if it had always Existed within the eyes, translucent, Jewel-like in stained glass patterns Of globes and measures, equations, Made evident by a revelation of galaxies In the knees, spine, fingers, all The ceasings, all the deaths within deaths That compose the body becoming at once Their own symbolic perception and praise Of river salt, blooms and breaths, strings, Strains, sun-seas of gravels and gills; This one expression breaking, this same Expression healing.

That’s why I wanted to use Supper at Six to teach chemistry. Because when women understand chemistry, they begin to understand how things work.” Roth looked confused. “I’m referring to atoms and molecules, Roth,” she explained. “The real rules that govern the physical world. When women understand these basic concepts, they can begin to see the false limits that have been created for them.” “You mean by men.” “I mean by artificial cultural and religious policies that put men in the highly unnatural role of single-sex leadership. Even a basic understanding of chemistry reveals the danger of such a lopsided approach.” “Well,” he said, realizing he’d never seen it that way before, “I agree that society leaves much to be desired, but when it comes to religion, I tend to think it humbles us—teaches us our place in the world.” “Really?” she said, surprised. “I think it lets us off the hook. I think it teaches us that nothing is really our fault; that something or someone else is pulling the strings; that ultimately, we’re not to blame for the way things are; that to improve things, we should pray. But the truth is, we are very much responsible for the badness in the world. And we have the power to fix it.” “But surely you’re not suggesting that humans can fix the universe.” “I’m speaking of fixing us, Mr. Roth—our mistakes. Nature works on a higher intellectual plane. We can learn more, we can go further, but to accomplish this, we must throw open the doors. Too many brilliant minds are kept from scientific research thanks to ignorant biases like gender and race. It infuriates me and it should infuriate you. Science has big problems to solve: famine, disease, extinction. And those who purposefully close the door to others using self-serving, outdated cultural notions are not only dishonest, they’re knowingly lazy. Hastings Research Institute is full of them.

Convinced that struggle was the crucible of character, Rockefeller faced a delicate task in raising his children. He wanted to accumulate wealth while inculcating in them the values of his threadbare boyhood. The first step in saving them from extravagance was keeping them ignorant of their father’s affluence. Until they were adults, Rockefeller’s children never visited his office or refineries, and even then they were accompanied by company officials, never Father. At home, Rockefeller created a make-believe market economy, calling Cettie the “general manager” and requiring the children to keep careful account books.16They earned pocket money by performing chores and received two cents for killing flies, ten cents for sharpening pencils, five cents per hour for practicing their musical instruments, and a dollar for repairing vases. They were given two cents per day for abstaining from candy and a dime bonus for each consecutive day of abstinence. Each toiled in a separate patch of the vegetable garden, earning a penny for every ten weeds they pulled up. John Jr. got fifteen cents an hour for chopping wood and ten cents per day for superintending paths. Rockefeller took pride in training his children as miniature household workers. Years later, riding on a train with his thirteen-year-old daughter, he told a traveling companion, “This little girl is earning money already. You never could imagine how she does it. I have learned what my gas bills should average when the gas is managed with care, and I have told her that she can have for pin money all that she will save every month on this amount, so she goes around every night and keeps the gas turned down where it is not needed.”17 Rockefeller never tired of preaching economy and whenever a package arrived at home, he made a point of saving the paper and string. Cettie was equally vigilant. When the children clamored for bicycles, John suggested buying one for each child. “No,” said Cettie, “we will buy just one for all of them.” “But, my dear,” John protested, “tricycles do not cost much.” “That is true,” she replied. “It is not the cost. But if they have just one they will learn to give up to one another.”18 So the children shared a single bicycle. Amazingly enough, the four children probably grew up with a level of creature comforts not that far above what Rockefeller had known as a boy.

Taking control of the situation There are a great many parents—as I’ve learned by attending endless parent support group meetings— who had the same high hopes for their families as I. If you’re such a parent, then you probably know that it isn’t just the child who can be out of control, but also the parent. Possibly you are also aware that continuous reacting on your part is useless as well as extremely hazardous to your health and well-being. The most ruinous thing you can do is to allow the situation to continue on its present destructive course. Here are some simple steps you can take to deactivate the negativity so rampant in your family dynamics. Please note that it takes courage and determination to carry this off successfully. Cut off all funds to the addict. Holding onto the purse strings with an iron fist will have immediate results, as well as repercussions. (Keep an eye on family valuables. In fact, lock them away.) Cut off all privileges accorded to your addicts— such as use of the family car or having their friends in your house. Carry out all threats you make. The fastest way to lose credibility with addicted children is to become a “softie” at the last minute. Refuse to rescue your addicts when they get into legal jams. Don’t pay their fines or their bail. Get yourself into a support group such as Al-Anon, Nar-Anon, Parents Anonymous, or Tough Love as fast as you can. Attempt to get your addicted kids into rehabs. If they’re underage you can sign them in. Adult admission is done on a voluntary basis, so you may be out of luck. Drugs erase any trace of conscience. Be aware that many of today’s drugged youths will think nothing of injuring or even murdering their parents for money. If you suspect that your child could resort to this level of violence, get in touch with the police. If you’re a single parent there will be one voice, but if you’re married there’ll be two. It’s important to merge those two voices so that a single, clear message reaches the addict. If you can work with your partner as a team to institute these simple steps when dealing with the addict, you’ll have done yourself and your family a great service. If, however, you entertain the notion that you were responsible for your child’s addictions in the first place, chances are you won’t be effective in enforcing these guidelines. That’s what the next chapter is all about. Note 1. Drug abuse and alcoholism are officially listed in The International Classification of Diseases, 4th edition, 9th revision, the World Health Organization’s directory on diseases.

But so far, we have only discussed applying quantum mechanics to the matter that moves within the gravity fields of Einstein’s theory. We have not discussed a much more difficult question: applying quantum mechanics to gravity itself in the form of gravitons. And this is where we encounter the biggest question of all: finding a quantum theory of gravity, which has frustrated the world’s great physicists for decades. So let us review what we have learned so far. We recall that when we apply the quantum theory to light, we introduce the photon, a particle of light. As this photon moves, it is surrounded by electric and magnetic fields that oscillate and permeate space and obey Maxwell’s equations. This is the reason why light has both particle-like and wavelike properties. The power of Maxwell’s equations lies in their symmetries—that is, the ability to turn electric and magnetic fields into each other. When the photon bumps into electrons, the equation that describes this interaction yields results that are infinite. However, using the bag of tricks devised by Feynman, Schwinger, Tomonaga, and many others, we are able to hide all the infinities. The resulting theory is called QED. Next, we applied this method to the nuclear force. We replaced the original Maxwell field with the Yang-Mills field, and replaced the electron with a series of quarks, neutrinos, etc. Then we introduced a new bag of tricks devised by ’t Hooft and his colleagues to eliminate all the infinities once again. So three of the four forces of the universe could now be unified into a single theory, the Standard Model. The resulting theory was not very pretty, since it was created by cobbling together the symmetries of the strong, weak, and electromagnetic forces, but it worked. But when we apply this tried-and-true method to gravity, we have problems. In theory, a particle of gravity should be called the graviton. Similar to the photon, it is a point particle, and as it moves at the speed of light, it is surrounded by waves of gravity that obey Einstein’s equations. So far, so good. The problem occurs when the graviton bumps into other gravitons and also atoms. The resulting collision creates infinite answers. When one tries to apply the bag of tricks painfully formulated over the last seventy years, we find that they all fail. The greatest minds of the century have tried to solve this problem, but no one has been successful. Clearly, an entirely new approach must be used, since all the easy ideas have been investigated and discarded. We need something truly fresh and original. And that leads us to perhaps the most controversial theory in physics, string theory, which might just be crazy enough to be the theory of everything.

Derian pulled the blanket snug around himself. “This is my added assurance.” Eena wrinkled her nose as if she thought his answer was odder than his actions. “It’s your what?” “If you recall the last time we were here standing in this very spot, you pelted me with neumberries.” He held up a single berry before popping it into his mouth. “I doubt you would risk soiling your blanket, so I figure wrapping it around me this way I’m pretty much assured safety from any potential attack.” He winked playfully, and she laughed out loud. “I’m afraid you don’t know me half as well as you think,” she announced. Aiming low, she flung a sizable berry at his calf. It hit its mark. “Whoa, whoa!” He lowered the blanket to cover his legs. “You can’t hide yourself entirely, Derian,” she said, aiming for his face. He ducked, raising the blanket like a shield in the process. Another round of ammunition pelted his ankles before he decided it was time to fight back. Eena found herself bound up in her own blanket, arms wrapped securely at her sides. She laughed nonstop, unable to move within his strong hold. Derian leaned forward until their noses touched, and then he kissed her giggles silent. He kept her in the blanket, snug and close to him, but Eena managed to wriggle an arm free and drape it around his neck, holding his lips in reach. She uttered a quick count in between kisses. “Seven,” she breathed. Derian paused, his mouth a whisper away from hers. It tickled when he spoke. “No, no, Eena.” “No what?” “No counting. Not today. No ground rules.” She barely uttered a partial “’kay” before his mouth covered hers again. His hot breath tasted like breakfast. He fixed his hands on each side of her face, and the blanket fell to the ground. As the intensity of their kisses grew hungry, he gripped her cheeks more securely. Eena could feel the air electrifying around them. Her heartbeat drummed—excited and anxious. “Derian…” she breathed. But he didn’t stop. She felt his hand move to support her neck while the other slid down her back, urging her closer. She brought her arms together and pressed against his chest, somewhat objecting to the intimacy. “Derian…” she tried again. But he covered her mouth with his own. She pushed more firmly against him without success. Her protest weakened as his kisses softened. The fervor subsided, and she could feel her wild pulse even out. Amidst a string of supple kisses, Derian’s breathing slowed. He planted his lips on her forehead for a moment before squeezing her tenderly. She snuggled up against his warm chest. “One ground rule,” he whispered in her ear. “We stop when you say ‘when.’” “When,” she uttered. “Okay,” he agreed. Then, as if the thought had just occurred to her, she stepped back to look up questioningly at the captain. “Wasn’t there a leftover sandwich in that basket from last night?” His lips formed a guilty smile as he confessed, “Yes—and it was delicious.

Or think of the tale of the blind men who encounter an elephant for the first time. One wise man, touching the ear of the elephant, declares the elephant is flat and two-dimensional like a fan. Another wise man touches the tail and assumes the elephant is like rope or a one-dimensional string. Another, touching a leg, concludes the elephant is a three-dimensional drum or a cylinder. But actually, if we step back and rise into the third dimension, we can see the elephant as a three-dimensional animal. In the same way, the five different string theories are like the ear, tail, and leg, but we still have yet to reveal the full elephant, M-theory. Holographic Universe As we mentioned, with time new layers have been uncovered in string theory. Soon after M-theory was proposed in 1995, another astonishing discovery was made by Juan Maldacena in 1997. He jolted the entire physics community by showing something that was once considered impossible: that a supersymmetric Yang-Mills theory, which describes the behavior of subatomic particles in four dimensions, was dual, or mathematically equivalent, to a certain string theory in ten dimensions. This sent the physics world into a tizzy. By 2015, there were ten thousand papers that referred to this paper, making it by far the most influential paper in high-energy physics. (Symmetry and duality are related but different. Symmetry arises when we rearrange the components of a single equation and it remains the same. Duality arises when we show that two entirely different theories are actually mathematically equivalent. Remarkably, string theory has both of these highly nontrivial features.) As we saw, Maxwell’s equations have a duality between electric and magnetic fields—that is, the equations remain the same if we reverse the two fields, turning electric fields into magnetic fields. (We can see this mathematically, because the EM equations often contain terms like E2 + B2, which remain the same when we rotate the two fields into each other, like in the Pythagorean theorem). Similarly, there are five distinct string theories in ten dimensions, which can be proven to be dual to each other, so they are really a single eleven-dimensional M-theory in disguise. So remarkably, duality shows that two different theories are actually two aspects of the same theory. Maldacena, however, showed that there was yet another duality between strings in ten dimensions and Yang-Mills theory in four dimensions. This was a totally unexpected development but one that has profound implications. It meant that there were deep, unexpected connections between the gravitational force and the nuclear force defined in totally different dimensions. Usually, dualities can be found between strings in the same dimension. By rearranging the terms describing those strings, for example, we can often change one string theory into another. This creates a web of dualities between different string theories, all defined in the same dimension. But a duality between two objects defined in different dimensions was unheard of.