Takes A Village Quotes

Desperate times call for desperate measures" is an aphorism which here means "sometimes you need to change your facial expression in order to create a workable disguise." The quoting of an aphorism, such as "It takes a village to raise a child," "No news is good news," and "Love conquers all," rarely indicates that something helpful is about to happen, which is why we provide our volunteers with a disguise kit in addition to helpful phrases of advice.

Hilary Clinton said you know, it takes a village to raise a child and somebody said it takes a village idiot to believe that … it is part of the whole thing of third parties wanting to make decisions for which they pay no price for when they’re wrong.

Ahh! Lady Pillows. So much fluffier than mine.” He took a giant whiff. “Why does everything girlie smell so delightful?” “Because we acknowledge the importance of basic hygiene. And periodically clean our bathrooms.” “Brilliant. I should write that down. After all, it takes a village.

I couldn't help but think, This car is taking me to a mental hospital and my mother is treating it like open-mic night at a Greenwich Village café.

Looking at the stars always makes me dream, as simply as I dream over the black dots representing towns and villages on a map. Why, I ask myself, shouldn’t the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take a train to get to Tarascon or Rouen, we take death to reach a star. We cannot get to a star while we are alive any more than we can take the train when we are dead. So to me it seems possible that cholera, tuberculosis and cancer are the celestial means of locomotion. Just as steamboats, buses and railways are the terrestrial means. To die quietly of old age would be to go there on foot.

Home is a child's first and most important classroom.

It was at this time that I was reminded of the chain of support that keeps a sufferer afloat – the person at the core of a crisis needs the support of their family and best friends, while those people need support from their friends, partners and family. Then even those people twice removed might need to talk to someone about it too. It takes a village to mend a broken heart.

Our lack of community is intensely painful. A TV talk show is not community. A couple of hours in a church pew each Sabbath is not community. A multinational corporation is neither a human nor a community, and in the sweatshops, defiled agribusiness fields, genetic mutation labs, ecological dead zones, the inhumanity is showing. Without genuine spiritual community, life becomes a struggle so lonely and grim that even Hillary Clinton has admitted "it takes a village".

We need to understand that there is no formula for how women should lead their lives. that is why we must respect the choices that each woman makes for herself and her family. Every woman deserves the chance to realize her God-given potential.

I’m holding everyone accountable, because it takes a village to put someone in a mental institution.

Art isn't only a painting. Art is anything that's creative, passionate, and personal. And great art resonates with the viewer, not only with the creator. What makes someone an artist? I don't think is has anything to do with a paintbrush. There are painters who follow the numbers, or paint billboards, or work in a small village in China, painting reproductions. These folks, while swell people, aren't artists. On the other hand, Charlie Chaplin was an artist, beyond a doubt. So is Jonathan Ive, who designed the iPod. You can be an artists who works with oil paints or marble, sure. But there are artists who work with numbers, business models, and customer conversations. Art is about intent and communication, not substances. An artists is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artists takes it personally. That's why Bob Dylan is an artist, but an anonymous corporate hack who dreams up Pop 40 hits on the other side of the glass is merely a marketer. That's why Tony Hsieh, founder of Zappos, is an artists, while a boiler room of telemarketers is simply a scam. Tom Peters, corporate gadfly and writer, is an artists, even though his readers are businesspeople. He's an artists because he takes a stand, he takes the work personally, and he doesn't care if someone disagrees. His art is part of him, and he feels compelled to share it with you because it's important, not because he expects you to pay him for it. Art is a personal gift that changes the recipient. The medium doesn't matter. The intent does. Art is a personal act of courage, something one human does that creates change in another.

Gripping his sword, Jace gave a slight nod to assure him that he’d take on the whole village and die before letting any harm befall Kyrin. Satisfied, Kaden and Trev went on.

Regardless of what else he is, he is still a child, as they all are. And don’t all children deserve to be protected? To be loved and nurtured so that they may grow and shape the world to make it a better place? In that way, they are no different than any other child in the village, or beyond. But they’re told they are, by people such as yourselves, and people who govern them and our world. People who put rules and restrictions in place to keep them separated and isolated. I don’t know what it will take to change that, if anything. But it won’t start at the top. It’ll start with us.

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

From then on, Matilda would visit the library only once a week in order to take out new books and return the old ones. Her own small bedroom now became her reading-room and there she would sit and read most afternoons, often with a mug of hot chocolate beside her. She was not quite tall enough to reach things around in the kitchen, but she kept a small box in the outhouse which she brought in and stood on in order to get whatever she wanted. Mostly it was hot chocolate she made, warming the milk in a saucepan on the stove before mixing it. Occasionally she made Bovril or Ovaltine. It was pleasant to take a hot drink up to her room and have it beside her as she sat in her silent room reading in the empty house in the afternoons. The books transported her into new worlds and introduced her to amazing people who lived exciting lives. She went to Africa with Ernest Hemingway and to India with Rudyard Kipling. She traveled all over the world while sitting in her little room in an English village.

If it takes a village to raise a child, it certainly takes a movement to undo an occupation.

In northwest Alaska, kunlangeta "might be applied to a man who, for example, repeatedly lies and cheats and steals things and does not go hunting, and, when the other men are out of the village, takes sexual advantage of many women." The Inuits tacitly assume that kunlangeta is irremediable. And so, according to Murphy, the traditional Inuit approach to such a man was to insist he go hunting, and then, in the absence of witnesses, push him off the edge of the ice.

They [parents] can resist the impulse to "prove" their love by showering children with things they do not need and give them precisous time and attention instead.

They say it takes a village to raise a child. I think it takes almost half a planet to rescue a dog.

I have to see Glory right now,” he said to Tsunami. “The NightWings are planning to attack tonight.” She gasped, and the trees around her all gasped at the same time. Tsunami turned to frown at the apparently empty branches. “I told you all you could go back to the village,” she said. “I don’t need a bodyguard. I can take care of myself.” Nobody answered. Tsunami sighed.

What are these?” Meg looked at the rings of keys in Nate’s hand, deliberately furrowed her brow. “Those would be keys.” “Why do you need so many keys?” “Because there are so many locks? Is this a quiz?” He jingled them in his palm while she continued to give him a sunny, innocent smile. “Meg, you don’t even lock your doors half the time. What are all these keys about?” “Well… There are times a person needs to get into a place, and hey, that place is locked. Then she would need a key.” “And this place that, hey, is locked, wouldn’t be the property of that person. Would that be correct?” “Techincally. But no man is an island, and it takes a village, and so on. We’re all one in the Zen universe.” “So these would be Zen keys?” “Exactly. Give them back.” “I don’t think so.” He closed his fist around them. “You see, even in the Zen universe I’d hate to arrest my wife for unlawful entry.” “I’m not your wife yet, buddy. Did you have a search warrant for those?” “They were in plain sight. No warrant necessary.” “Gestapo.” “Delinquent.

As time went by, it mattered less and less that in 1969 a rocket went from Florida to the moon and men walked there. Good men. People's dads. Those were only events, scattered in time. Draw them close, rub them between thumb and finger till they look like larvae, soften like silk, distend to knot, to weave. It takes a village to kill a child.

War is a quarrel between two thieves too cowardly to fight their own battle; therefore they take boys from one village and another village, stick them into uniforms, equip them with guns, and let them loose like wild beasts against one other.

Across town, over in the East Village, the graffiti was calling for the rich to be eaten, imprisoned, or taxed out of existence. Though it sometimes seemed like a nice idea, I hoped the revolution would not take place during my lifetime. I didn't want the rich to go away until I could at least briefly join their ranks.

A smile is the best way to get oneself out of a tight spot, even if it is a fake one. Surprisingly enough, everyone takes it at face value. I read that in a book." "If you keep staring at me, I'll hit you." "I only became part of your team recently when I replaced Sasuke, so I don't know everything that's going on. I don't really understand people either. But even I can tell that Naruto really loves you. Naruto's been shouldering that promise for a long time...I think he means to shoulder it for the rest of his life. I don't know what you said to him, but it's just like what's been done to me - it feels like a curse. Sasuke causes Naruto pain, but I think you do too." "Sasuke is only helping spread his darkness across the world. Letting him live will only sow the seeds of another war. He's just another criminal now. Sasuke lost all hope of coming back when his group, Akatsuki, attacked our village. Your fellow Konoha shinobi would never accept him now. Sakura's not stupid, either. She understands the position he's put us all in. That's why she came out here, to tell you herself.

The government are very keen on amassing statistics. They collect them, add them, raise them to the nth power, take the cube root and prepare wonderful diagrams. But you must never forget that every one of these figures comes in the first instance from the village watchman, who just puts down what he damn pleases.

First, we parents have to back up school authority and quit making excuses for our kids when they misbehave.

Karsa reached down, gathered the skeletal figure into his arms, and then settled back. ‘I stepped over corpses on the way here,’ the Toblakai said. ‘People no one cared about, dying alone. In my barbaric village this would never happen, but here in this city, this civilized jewel, it happens all the time. (...) What is your name?’ ‘Munug.’ ‘Munug. This night – before I must rise and walk into the temple – I am a village. And you are here, in my arms. You will not die uncared for.’ ‘You – you would do this for me? A stranger?’ ‘In my village no one is a stranger – and this is what civilization has turned its back on. One day, Munug, I will make a world of villages, and the age of cities will be over. And slavery will be dead, and there shall be no chains – tell your god. Tonight, I am his knight.’ Munug’s shivering was fading. The old man smiled. ‘He knows.’ It wasn’t too much, to take a frail figure into one’s arms for those last moments of life. Better than a cot, or even a bed in a room filled with loved ones. Better, too, than an empty street in the cold rain. To die in someone’s arms – could there be anything more forgiving? Every savage barbarian in the world knew the truth of this.

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

War is a quarrel between two thieves too cowardly to fight their own battle; therefore they take boys from one village and another village; stick them into uniforms, equip them with guns, and let them loose like wild beasts against each other.

The category of Other is as original as consciousness itself. The duality between Self and Other can be found in the most primitive societies, in the most ancient mythologies; the division did not always fall into the category of the division of the sexes (...) No group ever defines itself as One without immediately setting up the Other opposite itself. It only takes three travelers brought together by chance in the same train compartment for the rest of the travellers to become vaguely hostile 'others'. Village people view anyone not belonging to the village as suspicious 'others'. For the native of a country, inhabitants of other countries are viewed as 'foreigners'; Jews are the 'others' for anti-Semites, blacks for racist Americans, indigenous people for colonists, proletarians for the propertied classes.

Knowing what to expect next gives children a sense of security.

For the gentle werelibrarian, who's strictly vegetarian, there's nothing like Tofillager the MEATLESS TOFU VILLAGER

It is said that before entering the sea a river trembles with fear. She looks back at the path she has traveled, from the peaks of the mountains, the long winding road crossing forests and villages. And in front of her, she sees an ocean so vast, that to enter there seems nothing more than to disappear forever. But there is no other way. The river can not go back. Nobody can go back. To go back is impossible in existence. The river needs to take the risk of entering the ocean because only then will fear disappear, because that’s where the river will know it’s not about disappearing into the ocean, but of becoming the ocean.

I mean honestly, who just sits around in a house with a bunch of short guys waiting for their prince to come? So your mom is a bitch and wants to kill you because her mirror told her to? Cry me a river why don't you? Your big plan is sitting around cleaning house waiting for the other shoe to drop? And speaking of shoes, everyone has been picked on by mean girls. You do not wait for some old lady to pop in and transmogrify some innocent rodents just so you can sneak in to a dance under false pretenses. And let's say you do sneak in. For the love of all that is holy take your mask off and look the guy in the face and say. “Hi, I'm Cindy from down the street, I have this thing at midnight. Can we do coffee later?” This nonsense with a shoe and searching the entire village for one girl, it's crap.

Suddenly, in the space of a moment, I realized what it was that I loved about Britain - which is to say, all of it. Every last bit of it, good and bad - Marmite, village fetes, country lanes, people saying 'mustn't grumble' and 'I'm terribly sorry but', people apologizing to me when I conk them with a nameless elbow, milk in bottles, beans on toast, haymaking in June, stinging nettles, seaside piers, Ordnance Survey maps, crumpets, hot-water bottles as a necessity, drizzly Sundays - every bit of it. What a wondrous place this was - crazy as fuck, of course, but adorable to the tiniest degree. What other country, after all, could possibly have come up with place names like Tooting Bec and Farleigh Wallop, or a game like cricket that goes on for three days and never seems to start? Who else would think it not the least odd to make their judges wear little mops on their heads, compel the Speaker of the House of Commons to sit on something called the Woolsack, or take pride in a military hero whose dying wish was to be kissed by a fellow named Hardy? ('Please Hardy, full on the lips, with just a bit of tongue.') What other nation in the world could possibly have given us William Shakespeare, pork pies, Christopher Wren, Windsor Great Park, the Open University, Gardners' Question Time and the chocolate digestive biscuit? None, of course. How easily we lose sight of all this. What an enigma Britain will seem to historians when they look back on the second half of the twentieth century. Here is a country that fought and won a noble war, dismantled a mighty empire in a generally benign and enlightened way, created a far-seeing welfare state - in short, did nearly everything right - and then spent the rest of the century looking on itself as a chronic failure. The fact is that this is still the best place in the world for most things - to post a letter, go for a walk, watch television, buy a book, venture out for a drink, go to a museum, use the bank, get lost, seek help, or stand on a hillside and take in a view. All of this came to me in the space of a lingering moment. I've said it before and I'll say it again. I like it here. I like it more than I can tell you.

How do you ruin a people? Is it with fire? Is it with bullets? You can drag a man through the street tied to the back of a horse. You can incinerate a village. Can line families up in rows against a brick wall and fell them, one by one, like a forest. But all it takes is one survivor, and the story lives on. One survivor to carry the poems and the songs, the prayers, the sorrows. It isn’t just taking a life that destroys a people. It’s taking their history.

You know how bad news grows in villages. Sneeze at noon and by sundown the gravedigger will be taking your measurements

Cal’s eyes flicker, out to the trees. But he’s not looking at the leaves. His gaze is in the past, to something more painful. “She killed my true mother as well. And she’ll kill all of us if we let her.” The words come out hard and harsh, a rusty blade to saw f lesh. They taste wonderful in my mouth. “Not if I kill her first.” For all his talents, Cal is not a violent person. He can kill you in a thousand different ways, lead an army, burn down a village, but he will not enjoy it. So his next words take me by surprise. “When the time comes,” he says, staring at me, “we’ll flip a coin.

She remembered a story she had once heard: a woman had gossiped about her neighbors and later regretted what she said. She went to the rabbi and asked how she might take back her words. He instructed her to take a feather pillow to the top of the highest hill and tear it open, letting the feathers fly every which way. Then, the rabbi said, she should return to him and he would tell her what to do. She did as he said and when she returned, he told her to go outside and gather the feathers. But that's impossible, she cried. They're already scattered all over the village. He looked at her and smiled. The same is true of your words, he said.

I lie down on many a station platform; I stand before many a soup kitchen; I squat on many a bench;--then at last the landscape becomes disturbing, mysterious, and familiar. It glides past the western windows with its villages, their thatched roofs like caps, pulled over the white-washed, half-timbered houses, its corn-fields, gleaming like mother-of-pearl in the slanting light, its orchards, its barns and old lime trees. The names of the stations begin to take on meaning and my heart trembles. The train stamps and stamps onward. I stand at the window and hold on to the frame. These names mark the boundaries of my youth.

The episodic, reactive, almost frantic pace of what is broadcast makes children feel and act frantic and shortens their attention spans and their patience for activities that take time and problems that don't yield immediate solutions.

A village, even a small one, takes at least all night to burn, in the end it looks like an enormous flower, then there’s only a bud, and after that nothing.

Second, nothing about adolescence can be understood outside the context of delayed frontocortical maturation. If by adolescence limbic, autonomic, and endocrine systems are going full blast while the frontal cortex is still working out the assembly instructions, we’ve just explained why adolescents are so frustrating, great, asinine, impulsive, inspiring, destructive, self-destructive, selfless, selfish, impossible, and world changing. Think about this—adolescence and early adulthood are the times when someone is most likely to kill, be killed, leave home forever, invent an art form, help overthrow a dictator, ethnically cleanse a village, devote themselves to the needy, become addicted, marry outside their group, transform physics, have hideous fashion taste, break their neck recreationally, commit their life to God, mug an old lady, or be convinced that all of history has converged to make this moment the most consequential, the most fraught with peril and promise, the most demanding that they get involved and make a difference. In other words, it’s the time of life of maximal risk taking, novelty seeking, and affiliation with peers. All because of that immature frontal cortex.

Parenthood has the power to redefine every aspect of life - marriage, work, relationships with family and friends. Those helpless bundles of power and promise that come into our world show us our true selves- who we are, who we are not, who we wish we could be.

How many generations of ours have worn themselves out by rubbing their foreheads on the steps of the god? But when did the god take pit on you? What big thing has he done for you? Generation after generation, you have been used to clean the village of its garbage and god gave you the dead animals to eat. In spite of all that, god did not show you any pity. It is not this god that you worship, it is your ignorance.

Horror in your country is something you take a dose of to remind yourself that you are not suffering from it. For me and the girls from my village, horror is a disease and we are sick with it.

Like chess masters and firefighters, premodern villagers relied on things being the same tomorrow as they were yesterday. They were extremely well prepared for what they had experienced before, and extremely poorly equipped for everything else. Their very thinking was highly specialized in a manner that the modern world has been telling us is increasingly obsolete. They were perfectly capable of learning from experience, but failed at learning without experience. And that is what a rapidly changing, wicked world demands—conceptual reasoning skills that can connect new ideas and work across contexts. Faced with any problem they had not directly experienced before, the remote villagers were completely lost. That is not an option for us. The more constrained and repetitive a challenge, the more likely it will be automated, while great rewards will accrue to those who can take conceptual knowledge from one problem or domain and apply it in an entirely new one.

It was always the village aunties who’d sit around gossiping about which girl hadn’t been married off yet, despite complaining nonstop about their own husbands. And then they’d congratulate new mothers for being “blessed” to have a boy, despite being female themselves. How do you take the fight out of half the population and render them willing slaves? You tell them they’re meant to do nothing but serve from the minute they’re born. You tell them they’re weak. You tell them they’re prey. You tell them over and over, until it’s the only truth they’re capable of living.

To have come on all this new world of writing, with time to read in a city like Paris where there was a way of living well and working, no matter how poor you were, was like having a great treasure given to you. You could take your treasure with you when you traveled too, and in the mountains where we lived in Switzerland and Italy, until we found Schruns in the high valley in the Vorarlberg in Austria, there were always the books, so that you lived in the new world you had found, the snow and the forests and the glaciers and their winter problems and your high shelter in the Hotel Taube in the village in the day time, and at night you could live in the other wonderful world the Russian writers were giving you.

VII From my village I see as much of the universe as can be seen from the earth, And so my village is as large as any town, For I am the size of what I see And not the size of my height . . . In the cities life is smaller Than here in my house on top of this hill. The big buildings of cities lock up the view, They hide the horizon, pulling our gaze far away from the open sky. They make us small, for they take away all the vastness our eyes can see, And they make us poor, for our only wealth is seeing.

Every morning in the middle of nowhere, without electricity or anyone to impress, I'd take great care in picking out my outfit and hover in front of a business card-size mirror to apply my lip gloss and check my eyebrows. I also felt I had a strong case for bringing a little black dress on expeditions. Village parties spring up more often than you might expect, and despite never having been a Girl Scout, I like to be prepared.

When, on a moonlit night, you see a wide village street with its peasant houses, haystacks, sleeping willows, tranquility enters the soul; in this calm, wrapped in the shade of night, free from struggle, anxiety and passion, everything is gentle, wistful, beautiful, and it seems that the stars are watching over it tenderly and with love, and that this is taking place somewhere unearthly, and that all is well.

And so we know the satisfaction of hate. We know the sweet joy of revenge. How it feels good to get even. Oh, that was a nice idea Jesus had. That was a pretty notion, but you can't love people who do evil. It's neither sensible or practical. It's not wise to the world to love people who do such terrible wrong. There is no way on earth we can love our enemies. They'll only do wickedness and hatefulness again. And worse, they'll think they can get away with this wickedness and evil, because they'll think we're weak and afraid. What would the world come to? But I want to say to you here on this hot July morning in Holt, what if Jesus wasn't kidding? What if he wasn't talking about some never-never land? What if he really did mean what he said two thousand years ago? What if he was thoroughly wise to the world and knew firsthand cruelty and wickedness and evil and hate? Knew it all so well from personal firsthand experience? And what if in spite of all that he knew, he still said love your enemies? Turn your cheek. Pray for those who misuse you. What if he meant every word of what he said? What then would the world come to? And what if we tried it? What if we said to our enemies: We are the most powerful nation on earth. We can destroy you. We can kill your children. We can make ruins of your cities and villages and when we're finished you won't even know how to look for the places where they used to be. We have the power to take away your water and to scorch your earth, to rob you of the very fundamentals of life. We can change the actual day into actual night. We can do these things to you. And more. But what if we say, Listen: Instead of any of these, we are going to give willingly and generously to you. We are going to spend the great American national treasure and the will and the human lives that we would have spent on destruction, and instead we are going to turn them all toward creation. We'll mend your roads and highways, expand your schools, modernize your wells and water supplies, save your ancient artifacts and art and culture, preserve your temples and mosques. In fact, we are going to love you. And again we say, no matter what has gone before, no matter what you've done: We are going to love you. We have set our hearts to it. We will treat you like brothers and sisters. We are going to turn our collective national cheek and present it to be stricken a second time, if need be, and offer it to you. Listen, we-- But then he was abruptly halted.

Cal's eyes flicker, out to the trees. But he's not looking at the leaves. His gaze is in the past, to something more painful. "She killed my true mother as well. And she'll kill all of us if we let her." The words come out hard and harsh, a rusty blade to saw flesh. They taste wonderful in my mouth. "Not if I kill her first." For all his talents, Cal is not a violent person. He can kill you in a thousand different ways, lead an army, burn down a village, but he will not enjoy it. So his next words take me by surprise. "When the time comes," he says, staring at me, "we'll flip a coin." His bright flame has grown dark indeed.

It's a booley village," Ian told her. "The islanders used to take their animals into the hills for the summ. They'd camp out in these stone huts: men, women, and children. Everyone stayed up all night, sang, told stories, watched the stars. It must have been great craic." "How do you know this stuff?" she asked, admiringly. "I' a bloody genius." When she threw him a look, he grinned. " I also read it in the guidebook.

Imagine the feeling of relief that would flood our whole being if we knew that when we were in the grip of sorrow or illness, our village would respond to our need. This would not be out of pity, but out of a realization that every one of us will take our turn at being ill, and we will need one another. The indigenous thought is when one of us is ill, all of us are ill. Taking this thought a little further, we see that healing is a matter, in great part, of having our, connections to the community and the cosmos restored. This truth has been acknowledged in many studies. Our immune response is strengthened when we feel our connection with community. By regularly renewing the bonds of belonging, we support our ability to remain healthy and whole.

Tonight," he announced, "is the night we take back that village. And we're not going to do it by marching in lines or committing acts of brave idiocy. We're going to do it by being men. Manly men. The kind of men a woman wants to take control." Brows wrinkled in confusion. "But . . ." The blacksmith looked around the group. "We are men. Last I checked, anyhow." "It's not just a matter of having the proper equipment. It's using the equipment properly." Leaping up on a crate, Colin spread his arms wide. "Look at me. Now look at yourselves. Now look back at me. I am the man you want to be like." Dawes crossed his arms. "Why is that, precisely?" "Do you know how many women I've bedded?" When Rufus and Finn perked, he waved at them. "Have a guess, boys." "Seventeen," offered Finn. "More." "Eighteen." "Still more." "Er . . . nineteen?" "Oh, for the love of God," he muttered. "We'll be here all day. Let's just call the number more than you can imagine. Because clearly, that is the case." Under his breath, he added, "Perhaps higher than you know how to count.

A new moon lay on its back, and stars were out. Here, away from lights and sounds of town or village, the night was deep, the black sky stretching, fathomless, away among the spheres to some unimaginable world where gods walked, and suns and moons showered down like petals falling. Some power there is that draws men's eyes and hearts up and outward, beyond the heavy clay that fastens them to earth. Music can take them, and the moon's light, and, I suppose, love, though I had not known it then, except in worship.

FOR THE DYING May death come gently toward you, Leaving you time to make your way Through the cold embrace of fear To the place of inner tranquillity. May death arrive only after a long life To find you at home among your own With every comfort and care you require. May your leave-taking be gracious, Enabling you to hold dignity Through awkwardness and illness. May you see the reflection Of your life’s kindness and beauty In all the tears that fall for you. As your eyes focus on each face, May your soul take its imprint, Drawing each image within As companions for the journey. May you find for each one you love A different locket of jeweled words To be worn around the heart To warm your absence. May someone who knows and loves The complex village of your heart Be there to echo you back to yourself And create a sure word-raft To carry you to the further shore. May your spirit feel The surge of true delight When the veil of the visible Is raised, and you glimpse again The living faces Of departed family and friends. May there be some beautiful surprise Waiting for you inside death, Something you never knew or felt, Which with one simple touch, Absolves you of all loneliness and loss, As you quicken within the embrace For which your soul was eternally made. May your heart be speechless At the sight of the truth Of all belief had hoped, Your heart breathless In the light and lightness Where each and everything Is at last its true self Within that serene belonging That dwells beside us On the other side Of what we see.

Get Comfortable Not Knowing There once was a village that had among its people a very wise old man. The villagers trusted this man to provide them answers to their questions and concerns. One day, a farmer from the village went to the wise man and said in a frantic tone, “Wise man, help me. A horrible thing has happened. My ox has died and I have no animal to help me plow my field! Isn’t this the worst thing that could have possibly happened?” The wise old man replied, “Maybe so, maybe not.” The man hurried back to the village and reported to his neighbors that the wise man had gone mad. Surely this was the worst thing that could have happened. Why couldn’t he see this? The very next day, however, a strong, young horse was seen near the man’s farm. Because the man had no ox to rely on, he had the idea to catch the horse to replace his ox—and he did. How joyful the farmer was. Plowing the field had never been easier. He went back to the wise man to apologize. “You were right, wise man. Losing my ox wasn’t the worst thing that could have happened. It was a blessing in disguise! I never would have captured my new horse had that not happened. You must agree that this is the best thing that could have happened.” The wise man replied once again, “Maybe so, maybe not.” Not again, thought the farmer. Surely the wise man had gone mad now. But, once again, the farmer did not know what was to happen. A few days later the farmer’s son was riding the horse and was thrown off. He broke his leg and would not be able to help with the crop. Oh no, thought the man. Now we will starve to death. Once again, the farmer went to the wise man. This time he said, “How did you know that capturing my horse was not a good thing? You were right again. My son is injured and won’t be able to help with the crop. This time I’m sure that this is the worst thing that could have possibly happened. You must agree this time.” But, just as he had done before, the wise man calmly looked at the farmer and in a compassionate tone replied once again, “Maybe so, maybe not.” Enraged that the wise man could be so ignorant, the farmer stormed back to the village. The next day troops arrived to take every able-bodied man to the war that had just broken out. The farmer’s son was the only young man in the village who didn’t have to go. He would live, while the others would surely die. The moral of this story provides a powerful lesson. The truth is, we don’t know what’s going to happen—we just think we do. Often we make a big deal out of something. We blow up scenarios in our minds about all the terrible things that are going to happen. Most of the time we are wrong. If we keep our cool and stay open to possibilities, we can be reasonably certain that, eventually, all will be well. Remember: maybe so, maybe not.

It was pleasant to take a hot drink up to her room and have it beside her as she sat in her silent room reading in the empty house in the afternoons. The books transported her into new worlds and introduced her to amazing people who lived exciting lives. She went on olden-day sailing ships with Joseph Conrad. She went to Africa with Ernest Hemingway and to India with Rudyard Kipling. She travelled all over the world while sitting in her little room in an English village.

I don’t know whether it is that I am built wrong, but I never did seem to hanker after tombstones myself. I know that the proper thing to do, when you get to a village or town, is to rush off to the churchyard, and enjoy the graves; but it is a recreation that I always deny myself. I take no interest in creeping round dim and chilly churches behind wheezy old men, and reading epitaphs. Not even the sight of a bit of cracked brass let into a stone affords me what I call real happiness.

Why Do People become Shadowhunters, by Magnus Bane This Codex thing is very silly. Downworlders talk about the Codex like it is some great secret full of esoteric knowledge, but really itès a Boy Scout manual. One thing that it mysteriously doesnèt address is why people become Shadowhunters. And you should know that people become Shadowhunters for many stupid reasons. So here is an addition to your copy. Greetings, aspiring young Shadowhunter-to-be- or possibly already technically a Shadowhunter. I canèt remember whether you drink from the Cup first or get the book first. Regardless, you have just been recruited by the Monster Police. You may be wondering, why? Why of all the mundanes out there was I selected and invited to this exclusive club made up largely, at least from a historical perspective, of murderous psychopaths? Possible Reasons Why 1. You possess a stout heart, strong will, and able body. 2. You possess a stout body, able will, and strong heart. 3. Local Shadowhunters are ironically punishing you by making you join them. 4. You were recruited by a local institute to join the Nephilim as an ironic punishment for your mistreatment of Downworlders. 5. Your home , village, or nation is under siege by demons. 6. You home, village, or nation is under siege by rogue Downworlders. 7. You were in the wrong place at the wrong time. 8.You know too much, and should be recruited because the secrecy of the Shadow World has already been compromised for you. 9. You know too little; it would be helpful to the Shadowhunters if you knew more. 10. You know exactly the right amount, making you a natural recruit. 11. You possess a natural resistance to glamour magic and must be recruited to keep you quiet and provide you with some basic protection. 12. You have a compound last name already and have convinced someone important that yours is a Shadowhunter family and the Shadowhunteriness has just been weakened by generations of bad breeding. 13. You had a torrid affair with a member of the Nephilim council and now he's trying to cover his tracks. 14. Shadowhunters are concerned they are no longer haughty and condescending enough-have sought you out to add a much needed boost of haughty condescension. 15. You have been bitten by a radioactive Shadowhunter, giving you the proportional strength and speed of a Shadowhunter. 16. Large bearded man on flying motorcycle appeared to take you away to Shadowhunting school. 17. Your mom has been in hiding from your evil dad, and you found out you're a Shadowhunter only a few weeks ago. That's right. Seventeen reasons. Because that's how many I came up with. Now run off, little Shadowhunter, and learn how to murder things. And be nice to Downworlders.

Regardless of who leads it, the professional-class liberalism I have been describing in these pages seems to be forever traveling on a quest for some place of greater righteousness. It is always engaged in a search for some subject of overwhelming, noncontroversial goodness with which it can identify itself and under whose umbrella of virtue it can put across its self-interested class program. There have been many other virtue-objects over the years: people and ideas whose surplus goodness could be extracted for deployment elsewhere. The great virtue-rush of the 1990s, for example, was focused on children, then thought to be the last word in overwhelming, noncontroversial goodness. Who could be against kids? No one, of course, and so the race was on to justify whatever your program happened to be in their name. In the course of Hillary Clinton’s 1996 book, It Takes a Village, the favorite rationale of the day—think of the children!—was deployed to explain her husband’s crime bill as well as more directly child-related causes like charter schools. You can find dozens of examples of this kind of liberal-class virtue-quest if you try, but instead of listing them, let me go straight to the point: This is not politics. It’s an imitation of politics. It feels political, yes: it’s highly moralistic, it sets up an easy melodrama of good versus bad, it allows you to make all kinds of judgments about people you disagree with, but ultimately it’s a diversion, a way of putting across a policy program while avoiding any sincere discussion of the policies in question. The virtue-quest is an exciting moral crusade that seems to be extremely important but at the conclusion of which you discover you’ve got little to show for it besides NAFTA, bank deregulation, and a prison spree.

We can do it out here?” Sophie asked, looking uncertainly at the village around them. “Clive can,” Jason said. “He’s more flexible than most, so he can do it just about anywhere you have a flat space.” “It might seem unusual for the two of you to just up and do it in the middle of a village square,” Humphrey said, “but it’s something the villagers will be eager to see.” “It won’t take long,” Jason said. “Clive can just slip it into you out here and we can head off.” “He’s right; it won’t take long,” Clive assured her. “Even in less comfortable conditions, I’m very quick to finish.” “Alright,” Sophie said. “It’s not like it’s my first time.” “You heard the lady, Clive,” Jason said. “Whip it out.

Life was about to take her away from here. Fro the place where she'd become herself. This sold little village that never changed but helped its inhabitants to change. She's arrived straight from art college full of avant-garde ideas, wearing shades of gray and seeing the world in black and white. So sure of herself. But here, in the middle of nowhere, she'd discovered color. And nuance. She'd learned this from the villagers, who'd been generous enough to lend her their souls to paint. Not as perfect human beings, but as flawed, struggling men and women. Filled with fear and uncertainty and, in at least one case, martinis.

Three times now... We've fought world wars for our own nations, our own villages. We've hurt one another. We've hated one another. That hatred bred a lust for power, and that lust for power created ME. I was a Jinchuuriki, the embodiment of hatred and power. And I hated this world, and all the people in it... I wanted to destroy it with my own hands. The exact same thing Akatsuki is trying to do today. But one man, one ninja from Konoha stopped me. I was his enemy, yet he wept for me! I hurt him, yet he called me his friend! He saved me! My enemy, my fellow Jinchuuriki... He suffered the same pain as me, yet bore no ill will! There are no enemies here because we've all suffered at Akatsuki's hand! SO THERE IS NO SAND, NO STONE, NO LEAF, NO MIST, NO CLOUD! THERE ARE ONLY SHINOBI! And if you still hold a grudge against the Sand, then when this war is over, come and take my head instead! Our enemies are after the friend who saved my life! If they take him, if we hand him over, our world is finished! I want to protect him, and I want to protect our world! But I'm too young to protect it all on my own! All of you lend me your aid!

Put it on record --I am an Arab And the number of my card is fifty thousand I have eight children And the ninth is due after summer. What's there to be angry about? Put it on record. --I am an Arab Working with comrades of toil in a quarry. I have eight childern For them I wrest the loaf of bread, The clothes and exercise books From the rocks And beg for no alms at your doors, --Lower not myself at your doorstep. --What's there to be angry about? Put it on record. --I am an Arab. I am a name without a tide, Patient in a country where everything Lives in a whirlpool of anger. --My roots --Took hold before the birth of time --Before the burgeoning of the ages, --Before cypess and olive trees, --Before the proliferation of weeds. My father is from the family of the plough --Not from highborn nobles. And my grandfather was a peasant --Without line or genealogy. My house is a watchman's hut --Made of sticks and reeds. Does my status satisfy you? --I am a name without a surname. Put it on Record. --I am an Arab. Color of hair: jet black. Color of eyes: brown. My distinguishing features: --On my head the 'iqal cords over a keffiyeh --Scratching him who touches it. My address: --I'm from a village, remote, forgotten, --Its streets without name --And all its men in the fields and quarry. --What's there to be angry about? Put it on record. --I am an Arab. You stole my forefathers' vineyards --And land I used to till, --I and all my childern, --And you left us and all my grandchildren --Nothing but these rocks. --Will your government be taking them too --As is being said? So! --Put it on record at the top of page one: --I don't hate people, --I trespass on no one's property. And yet, if I were to become starved --I shall eat the flesh of my usurper. --Beware, beware of my starvation. --And of my anger!

He speaks to Klamm, but is it Klamm? Isn’t it rather someone who merely resembles Klamm? Perhaps at the very most a secretary who is a little like Klamm and goes to great lengths to be even more like him and tries to seem important by affecting Klamm’s drowsy, dreamlike manner. That part of his being is easiest to imitate, many try to do so; as for the rest of his being, though, they wisely steer clear of it. And a man such as Klamm, who is so often the object of yearning and yet so rarely attained, easily takes on a variety of shapes in the imagination of people. For instance, Klamm has a village secretary here called Momus. Really? You know him? He too keeps to himself but I have seen him a couple of times. A powerful young gentleman, isn’t he? And so he probably doesn’t look at all like Klamm? And yet you can find people in the village who would swear that Momus is Klamm and none other than he. That’s how people create confusion for themselves. And why should it be any different at the Castle?

... to wander far from the familiar "home" of his adolescent ways of belonging, doing, and being. He must, as poet Mary Oliver puts it, "stride deeper and deeper into the world." His culture will greatly influence the manner in which he wanders, as will his gender, physical constitution, psychological temperament, age, and bio-region. In one culture, his wandering might take him geographically far from his hometown or village. In another culture, geographic movement will have little importance for the true depth of his wandering. What is critical is not whether he engages in this practice or that, or undergoes this ritual or another, but that his wandering changes his relationship to the world, that he leaves the home of his adolescent identity, and that his border crossings usher him into the mysteries of nature and psyché.

Who will take care of us out there?" Klaus said, looking out on the flat horizon. "Nobody," Violet said. "We'll have to take care of ourselves. We'll have to be self-sustaining." "Like the hot air mobile home," Klaus said, "that could travel and survive all by itself." "Like me," Sunny said, and abruptly stood up. Violet and Klaus gasped in surprise as their baby sister took her first wobbly steps, and then walked closely beside her, ready to catch her if she fell. But she didn't fall. Sunny took a few more self-sustaining steps, and then the three Baudelaires stood together, casting long shadows across the horizon in the dying light of the sunset.

Some of my pleasantest hours were during the long rain-storms in the spring or fall, which confined me to the house for the afternoon as well as the forenoon, soothed by their ceaseless roar and pelting; when an early twilight ushered in a long evening in which many thoughts had time to take root and unfold themselves. In those driving northeast rains which tried the village houses so, when the maids stood ready with mop and pail in front entries to keep the deluge out, I sat behind my door in my little house, which was all entry, and thoroughly enjoyed its protection.

Valdivia's actions symbolize man's indefatigable thirst to take control of a place where he can exercise total authority. That phrase, attributed to Caesar, proclaiming he would rather be first-in-command in some humble Alpine village than second-in-command in Rome, is repeated less pompously, but no less effectively, in the epic campaign that is the conquest of Chile. If, in the moment the conquistador was facing death at the hands of tht invincible Araucanian Caupolican, he had not been overwhelmed with fury, like a hunted animal, I do not doubt that judging his life, Valdivia would have felt death was fully justified. He belonged to that special class of men the species produces every so often, in whom a craving for limitless power is so extreme that any suffering to achieve it seems natural, and he had become the omnipotent ruler of a warrior nation.

Well," he said, quite seriously, "it's this way: you work because you're afraid not to. You work becuase you have to drive yourself to such a fury to begin. That part's just plain hell! It's so hard to get started that once you do you're afraid of slipping back. You'd rather do anything than go through all that agony again--so you keep going--you keep going faster all the time--you keep going till you couldn't stop even if you wanted to. You forget to eat, to shave, to put on a clean shirt when you have one. You almost forget to sleep, and when you do try to you can't--because the avalanche has started, and it keeps going night and day. And people say: 'Why don't you stop sometime? Why don't you forget about it now and then? Why don't you take a few days off?' And you don't do it because you can't--you can't stop yourself--and even if you could you'd be afraid to because there'd be all that hell to go through getting started up again. Then people say you're a glutton for work, but it isn't so. It's laziness--just plain, damned, simple laziness, that's all...Napoleon--and--and Balzac--and Thomas Edison--these fellows who never sleep more than an hour or two at a time, and can keep going night and day--why that's not because they love to work! It's because they're really lazy--and afraid not to work because they know they're lazy! Why, hell yes!..I'll bet you anything you like if you could really find out what's going on in old Edison's mind, you'd find that he wished he could stay in bed every day until two o'clock in the afternoon! And then get up and scratch himself! And then lie around in the sun for awhile! And hang around with the boys down at the village store, talking about politics, and who's going to win the World Series next fall!

On an evening in the latter part of May a middle-aged man was walking homeward from Shaston to the village of Marlott, in the adjoining Vale of Blakemore, or Blackmoor. The pair of legs that carried him were rickety, and there was a bias in his gait which inclined him somewhat to the left of a straight line. He occasionally gave a smart nod, as if in confirmation of some opinion, though he was not thinking of anything in particular. An empty egg-basket was slung upon his arm, the nap of his hat was ruffled, a patch being quite worn away at its brim where his thumb came in taking it off. Presently he was met by an elderly parson astride on a gray mare, who, as he rode, hummed a wandering tune.

Conscience is strong in women. Children are very violently taught that they owe all to their parents, and the parents are not slow in foreclosing the mortgage. But the home is not a debtor's prison - to girls any more than to boys. This enormous claim of parents calls for extermination. Do they in truth do all for their children; do their children owe all to them? Is nothing furnished in the way of safety, sanitation, education, by that larger home, the state? What could these parents do, alone, in never so pleasant a home, without the allied forces of society to maintain that home in peace and prosperity. These lingering vestiges of a patriarchal cult must be left behind. Ancestor-worship has had victims enough. Girls are human creatures as well as boys, and both have duties, imperative duties, quite outside the home.

open the Israeli map, and again study the route that Israelis usually take to the coast. So, after descending to the bottom of the valley on Highway 50, one must turn right onto Highway 1, and stay on it for a long time, without turning right or left. I examine the area along Highway 1, which, according to the map, appears to be primarily populated by settlements. The only two visible Palestinian villages are Abu Ghosh and Ein Rafa. I go back and open the map, which depicts Palestine until 1948, and let my eyes wander over it, moving between the names of the many Palestinian villages that were destroyed after the expulsion of their inhabitants that year.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

What we take from granted in the United States as being Mexican, to those from southern Mexico, is almost completely foreign. Rural Mexicans don't have the spare money to drown their food in melted cheese. They don't smother their food in mounds of sour cream. Who would pay for it? They have never seen "nachos." In some regions of the south, they eat soup with bananas; some tribal folks not far from Veracruz eat termite tacos; turkey, when there are turkeys, is not filled with "stuffing"―but with dry pineapples, papaya, pecans. Meat is killed behind the house, or it is bought, dripping and flyblown, off a wooden plank in the village market. They eat cheeks, ears, feet, tails, lips, fried blood, intestines filled with curdled milk. Southerners grew up eating corn tortillas, and they never varied in their diet. You find them eating food the Aztecs once ate. Flour tortillas, burritos, chimichangas―it's foreign food to them, invented on the border. They were alliens before they ever crossed the line.

Fanfare for the Makers A cloud of witnesses. To whom? To what? To the small fire that never leaves the sky. To the great fire that boils the daily pot. To all the things we are not remembered by, Which we remember and bless. To all the things That will not notice when we die, Yet lend the passing moment words and wings. So fanfare for the Makers: who compose A book of words or deeds who runs may write As many who do run, as a family grows At times like sunflowers turning towards the light. As sometimes in the blackout and the raids One joke composed an island in the night. As sometimes one man’s kindness pervades A room or house or village, as sometimes Merely to tighten screws or sharpen blades Can catch a meaning, as to hear the chimes At midnight means to share them, as one man In old age plants an avenue of limes And before they bloom can smell them, before they span The road can walk beneath the perfected arch, The merest greenprint when the lives began Of those who walk there with him, as in default Of coffee men grind acorns, as in despite Of all assaults conscripts counter assault, As mothers sit up late night after night Moulding a life, as miners day by day Descend blind shafts, as a boy may flaunt his kite In an empty nonchalant sky, as anglers play Their fish, as workers work and can take pride In spending sweat before they draw their pay. As horsemen fashion horses while they ride, As climbers climb a peak because it is there, As life can be confirmed even in suicide: To make is such. Let us make. And set the weather fair. Louis Macneice

To learn theory by experimenting and doing. To learn belonging by participating and self-rule. Permissiveness in all animal behavior and interpersonal expression. Emphasis on individual differences. Unblocking and training feeling by plastic arts, eurythmics and dramatics. Tolerance of races, classes, and cultures. Group therapy as a means of solidarity, in the staff meeting and community meeting. Taking youth seriously as an age in itself. Community of youth and adults, minimizing 'authority.' Educational use of the actual physical plant (buildings and farms) and the culture of the school community. Emphasis in the curriculum on real problems and wider society, its geography and history, with actual participation in the neighboring community (village or city). Trying for functional interrelation of activities.

Brian Wilson went to bed for three years. Jean-Michel Basquiat would spend all day in bed. Monica Ali, Charles Bukowski, Marcel Proust, Elizabeth Barrett Browning, Tracey Emin, Emily Dickinson, Edith Sitwell, Frida Kahlo, William Wordsworth, René Descartes, Mark Twain, Henri Matisse, Kathy Acker, Derek Jarman and Patti Smith all worked or work from bed and they’re productive people. (Am I protesting too much?) Humans take to their beds for all sorts of reasons: because they’re overwhelmed by life, need to rest, think, recover from illness and trauma, because they’re cold, lonely, scared, depressed – sometimes I lie in bed for weeks with a puddle of depression in my sternum – to work, even to protest (Emily Dickinson, John and Yoko). Polar bears spend six months of the year sleeping, dormice too. Half their lives are spent asleep, no one calls them lazy. There’s a region in the South of France, near the Alps, where whole villages used to sleep through the seven months of winter – I might be descended from them. And in 1900, it was recorded that peasants from Pskov in northwest Russia would fall into a deep winter sleep called lotska for half the year: ‘for six whole months out of the twelve to be in the state of Nirvana longed for by Eastern sages, free from the stress of life, from the need to labour, from the multitudinous burdens, anxieties, and vexations of existence’.‡ Even when I’m well I like to lie in bed and think. It’s as if

I’m drinking a glass of water in the empty hotel bar at the Principe di Savoia and staring at the mural behind the bar and in the mural there is a giant mountain, a vast field spread out below it where villagers are celebrating in a field of long grass that blankets the mountain dotted with tall white flowers, and in the sky above the mountain it’s morning and the sun is spreading itself across the mural’s frame, burning over the small cliffs and the low-hanging clouds that encircle the mountain’s peak, and a bridge strung across a path through the mountain will take you to any point beyond that you need to arrive at, because behind that mountain is a highway and along that highway are billboards with answers on them – who, what, where, when, why – and I’m falling forward but also moving up toward the mountain, my shadow looming against its jagged peaks, and I’m surging forward, ascending, sailing through dark clouds, rising up, a fiery wind propelling me, and soon it’s night and stars hang in the sky above the mountain revolving as they burn. The stars are real. The future is that mountain.

For the author as for God, standing outwith his creation, all times are one; all times are now. In mine own country, we accept as due and right – as very meet, right, and our bounden duty – the downs and their orchids and butterflies, the woods and coppices, ash, beech, oak, and field maple, rowan, wild cherry, holly, and hazel, bluebells in their season and willow, alder, and poplar in the wetter ground. We accept as proper and unremarkable the badger and the squirrel, the roe deer and the rabbit, the fox and the pheasant, as the companions of our walks and days. We remark with pleasure, yet take as granted, the hedgerow and the garden, the riot of snowdrops, primroses, and cowslips, the bright flash of kingfishers, the dart of swallows and the peaceful homeliness of house martins, the soft nocturnal glimmer of glow worm and the silent nocturnal swoop of owl.

The majority of things in life are about picking your battles. You'll learn that too. And that will never be clearer than when you're at IKEA. You'd have to visit a Danish vacation village after two weeks of pouring rain and no beer to come across as many couples arguing as you'll hear in the IKEA section for changeable sofa covers on any given Tuesday. People take this whole interior design thing really seriously these days. It's become a national pastime to over interpret the symbolism of the fact that "he wants frosted glass, that just proves he never listens to my FEELINGS." "Ahhhhh! She wants beech veneer. Do you hear me? Beech veneer! Sometimes, it feels like I've woken up next to a stranger!" That's how it is, every single time you go there. And I'm not going to lecture you, but if there's just one thing I can get across then let it be this: no one has ever, in the history of the world, had an argument in IKEA that really is about IKEA. People can say whatever they life, but when a couple who has been married for ten years walks around the bookshelves section calling one another words normally only used by alcoholic crime fiction detectives, they might be arguing about a number of things, but trust me: cupboard doors is not one of them. Believe me. You're a Backman. Regardless of how many shortcomings the person you fall in love with might have, I can guarantee that you still come out on top of that bargain. So find someone who doesn't love you for the person you are, but despite the person you are. And when you're standing there, in the storage section at IKEA, don't focus too much on the furniture. Focus on the fact that you've actually found someone who can see themselves storing their crap in the same place as your crap. Because, hand on heart: you have a lot of crap.

My mom was a sayyed from the bloodline of the Prophet (which you know about now). In Iran, if you convert from Islam to Christianity or Judaism, it’s a capital crime. That means if they find you guilty in religious court, they kill you. But if you convert to something else, like Buddhism or something, then it’s not so bad. Probably because Judaism, Christianity, and Islam are sister religions, and you always have the worst fights with your sister. And probably nothing happens if you’re just a six-year-old. Except if you say, “I’m a Christian now,” in your school, chances are the Committee will hear about it and raid your house, because if you’re a Christian now, then so are your parents probably. And the Committee does stuff way worse than killing you. When my sister walked out of her room and said she’d met Jesus, my mom knew all that. And here is the part that gets hard to believe: Sima, my mom, read about him and became a Christian too. Not just a regular one, who keeps it in their pocket. She fell in love. She wanted everybody to have what she had, to be free, to realize that in other religions you have rules and codes and obligations to follow to earn good things, but all you had to do with Jesus was believe he was the one who died for you. And she believed. When I tell the story in Oklahoma, this is the part where the grown-ups always interrupt me. They say, “Okay, but why did she convert?” Cause up to that point, I’ve told them about the house with the birds in the walls, all the villages my grandfather owned, all the gold, my mom’s own medical practice—all the amazing things she had that we don’t have anymore because she became a Christian. All the money she gave up, so we’re poor now. But I don’t have an answer for them. How can you explain why you believe anything? So I just say what my mom says when people ask her. She looks them in the eye with the begging hope that they’ll hear her and she says, “Because it’s true.” Why else would she believe it? It’s true and it’s more valuable than seven million dollars in gold coins, and thousands of acres of Persian countryside, and ten years of education to get a medical degree, and all your family, and a home, and the best cream puffs of Jolfa, and even maybe your life. My mom wouldn’t have made the trade otherwise. If you believe it’s true, that there is a God and He wants you to believe in Him and He sent His Son to die for you—then it has to take over your life. It has to be worth more than everything else, because heaven’s waiting on the other side. That or Sima is insane. There’s no middle. You can’t say it’s a quirky thing she thinks sometimes, cause she went all the way with it. If it’s not true, she made a giant mistake. But she doesn’t think so. She had all that wealth, the love of all those people she helped in her clinic. They treated her like a queen. She was a sayyed. And she’s poor now. People spit on her on buses. She’s a refugee in places people hate refugees, with a husband who hits harder than a second-degree black belt because he’s a third-degree black belt. And she’ll tell you—it’s worth it. Jesus is better. It’s true. We can keep talking about it, keep grinding our teeth on why Sima converted, since it turned the fate of everybody in the story. It’s why we’re here hiding in Oklahoma. We can wonder and question and disagree. You can be certain she’s dead wrong. But you can’t make Sima agree with you. It’s true. Christ has died. Christ is risen. Christ will come again. This whole story hinges on it. Sima—who was such a fierce Muslim that she marched for the Revolution, who studied the Quran the way very few people do read the Bible and knew in her heart that it was true.

I mean to say, millions of people, no doubt, are so constituted that they scream with joy and excitement at the spectacle of a stuffed porcupine-fish or a glass jar of seeds from Western Australia - but not Bertram. No; if you will take the word of one who would not deceive you, not Bertram. By the time we had tottered out of the Gold Coast village and were working towards the Palace of Machinery, everything pointed to my shortly executing a quiet sneak in the direction of that rather jolly Planters' Bar in the West Indian section. ... There are certain moments in life when words are not needed. I looked at Biffy, Biffy looked at me. A perfect understanding linked our two souls. "?" "!" Three minutes later we had joined the Planters. I have never been in the West Indies, but I am in a position to state that in certain of the fundamentals of life they are streets ahead of our European civilisation. The man behind the counter, as kindly a bloke as I ever wish to meet, seemed to guess our requirements the moment we hove in view. Scarcely had our elbows touched the wood before he was leaping to and fro, bringing down a new bottle with each leap. A planter, apparently, does not consider he has had a drink unless it contains at least seven ingredients, and I'm not saying, mind you, that he isn't right. The man behind the bar told us the things were called Green Swizzles; and, if ever I marry and have a son, Green Swizzle Wooster is the name that will go down on the register, in memory of the day his father's life was saved at Wembley.

Surely, somewhere in the back of Bulfinch, in a part Lillian had not gotten to, there is an obscure (abstruse, arcane, shadowy, and even hidden) version of Proserpine in he Underworld in which a tired Jewish Ceres schleps through the outskirts of Tartarus, an ugly village of tired whores who must double as laundresses and barbers, a couple of saloons, a nearly empty five-and-dime, and people too poor to pull up stakes. In this version, Ceres looks all over town for her Proserpine, who crossed the River Cyane in a pretty sailboat with Pluto, having had the good sense to come to an understanding with the king early on. Pluto and Proserpine picnic in a charming park, twinkling lights overhead and handsome wide benches like the ones in Central Park. When Ceres comes, tripping a little on her hem as she walks through the soft grass, muttering and trying to yank Proserpine to her feet so they can start the long trip home to Enna and daylight (which has lost much of its luster, now that Proserpine is queen of all she surveys), the girl does not jump up at the sight of her mother, but takes her time handing out the sandwiches and pours cups of sweetened tea for the three of them. She lays a nicely ironed napkin in her lap and another in the lap of her new husband, the king. Proserpine does not eat the pomegranate seeds by mistake, or in a moment of desperate hunger, or fright, or misunderstanding. She takes the pomegranate slice out of her husband’s dark and glittering hand and pulls the seeds into her open, laughing mouth; she eats only six seeds because her mother knocks it out of her hand before she can swallow the whole sparkling red cluster. “We have to get home,” Ceres says. “I am home,” her daughter says.

There are two kinds of learning, from the inside and from the outside. The fist is regarded as the best, or even the only kind. And so people learn through distant journeys, watching, reading, universities and lectures — they learn from what is happening outside them. Man is a stupid creature who had to learn. So he tacks knowledge onto himself, he gathers it like a bee, gaining more and more of it, putting it to use and processing it. But the thing inside that is "stupid" and needs learning doesn't change. Cornspike learned by absorbing things from the outside to the inside. Knowledge that is only grown on the outside changes nothing inside a man, or merely changes him on the surface, as one garment is changed for another. But he who learns by taking things inside himself undergoes constant transformation, because he incorporates what he learns into his being. So by taking the stinking, dirty peasants from Primeval and the district into herself, Cornspike became just like them, was drunk just like them, frightened by the war just like them, and aroused just like them. What's more, by taking them into herself in the bushes behind the inn, Cornspike also took in their wives, their children, and their stuffy, stinking wooden cottages around Maybug Hill. In a way she took the entire village into herself, every pain in the village, and every hope.

Tranquility is the soul of our community.” Not a quarter mile’s distance away, Susanna Finch sat in the lace-curtained parlor of the Queen’s Ruby, a rooming house for gently bred young ladies. With her were the room house’s newest prospective residents, a Mrs. Highwood and her three unmarried daughters. “Here in Spindle Cove, young ladies enjoy a wholesome, improving atmosphere.” Susanna indicated a knot of ladies clustered by the hearth, industriously engaged in needlework. “See? The picture of good health and genteel refinement.” In unison, the young ladies looked up from their work and smiled placid, demure smiles. Excellent. She gave them an approving nod. Ordinarily, the ladies of Spindle Cove would never waste such a beautiful afternoon stitching indoors. They would be rambling the countryside, or sea bathing in the cove, or climbing the bluffs. But on days like these, when new visitors came to the village, everyone understood some pretense at propriety was necessary. Susanna was not above a little harmless deceit when it came to saving a young woman’s life. “Will you take more tea?” she asked, accepting a fresh pot from Mrs. Nichols, the inn’s aging proprietress. If Mrs. Highwood examined the young ladies too closely, she might notice that mild Gaelic obscenities occupied the center of Kate Taylor’s sampler. Or that Violet Winterbottom’s needle didn’t even have thread.

These days, there are so few pure country people left on the concession roads that we may be in need of a new category of membership, much as sons and daughters of veterans are now allowed to join the Legion. A few simple questions could be asked, a small fee paid and (assuming that the answers are correct) you could be granted the status of an "almost local." Here are some of the questions you might be asked: Do you have just one suit for weddings and funerals? Do you save plastic buckets? Do you leave your car doors unlocked at all times? Do you have an inside dog and an outside dog? Has your outside dog never been to town? When you pass a neighbour in the car, do you wave from the elbow or do you merely raise one finger from the steering wheel? Do you have trouble keeping the car or truck going in a straight line because you are looking at crops or livestock? Do you sometimes find yourself sitting in the car in the middle of a dirt road chatting with a neighbour out the window while other cars take the ditch to get around you? Can you tell whose tractor is going by without looking out the window? Can people recognize you from three hundred yards away by the way you walk or the tilt of your hat? If somebody honks their horn at you, do you automatically smile and wave? Do most of your conversations open with some observation about the weather? Is your most important news source the store in the village? Have you had surgery in the local hospital? If you hear about a death or a fire in the community, does the woman in your house immediately start making sandwiches or a cake? Do you sometimes find yourself referring to a farm in the neighbourhood by the name of someone who owned it more than twenty-five years ago? If you answered yes to all of the above questions, consider it official: you are a local.

I went to the room in Great Jones Street, a small crooked room, cold as a penny, looking out on warehouses, trucks and rubble. There was snow on the windowledge. Some rags and an unloved ruffled shirt of mine had been stuffed into places where the window frame was warped and cold air entered. The refrigerator was unplugged, full of record albums, tapes, and old magazines. I went to the sink and turned on both taps all the way, drawing an intermittent trickle. Least is best. I tried the radio, picking up AM only at the top of the dial, FM not at all." The industrial loft buildings along Great Jones seemed misproportioned, broad structures half as tall as they should have been, as if deprived of light by the great skyscraper ranges to the north and south." Transparanoia owns this building," he said. She wanted to be lead singer in a coke-snorting hard-rock band but was prepared to be content beating a tambourine at studio parties. Her mind was exceptional, a fact she preferred to ignore. All she desired was the brute electricity of that sound. To make the men who made it. To keep moving. To forget everything. To be that sound. That was the only tide she heeded. She wanted to exist as music does, nowhere, beyond maps of language. Opal knew almost every important figure in the business, in the culture, in the various subcultures. But she had no talent as a performer, not the slightest, and so drifted along the jet trajectories from band to band, keeping near the fervers of her love, that obliterating sound, until we met eventually in Mexico, in somebody's sister's bed, where the tiny surprise of her name, dropping like a pebble on chrome, brought our incoherent night to proper conclusion, the first of all the rest, transactions in reciprocal tourism. She was beautiful in a neutral way, emitting no light, defining herself in terms of attrition, a skinny thing, near blond, far beyond recall from the hard-edged rhythms of her life, Southwestern woman, hard to remember and forget...There was never a moment between us that did not measure the extent of our true connection. To go harder, take more, die first.

Honey’s Cottage Miss Honey joined Matilda outside the school gates and the two of them walked in silence through the village High Street. They passed the greengrocer with his window full of apples and oranges, and the butcher with bloody lumps of meat on display and naked chickens hanging up, and the small bank, and the grocery store and the electrical shop, and then they came out at the other side of the village on to the narrow country road where there were no people any more and very few motor-cars. And now that they were alone, Matilda all of a sudden became wildly animated. It seemed as though a valve had burst inside her and a great gush of energy was being released. She trotted beside Miss Honey with wild little hops and her fingers flew as if she would scatter them to the four winds and her words went off like fireworks, with terrific speed. It was Miss Honey this and Miss Honey that and Miss Honey I do honestly feel I could move almost anything in the world, not just tipping over glasses and little things like that . . . I feel I could topple tables and chairs, Miss Honey . . . Even when people are sitting in the chairs I think I could push them over, and bigger things too, much bigger things than chairs and tables . . . I only have to take a moment to get my eyes strong and then I can push it out, this strongness, at anything at all so long as I am staring at it hard enough . . . I have to stare at it very hard, Miss Honey, very very hard, and then I can feel it all happening behind my eyes, and my eyes get hot just as though they were burning but I don’t mind that in the least, and Miss Honey . . .

The original paraphernalia for the lottery had been lost long ago, and the black box now resting on the stool had been put into use even before Old Man Warner, the oldest man in town, was born. Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box. There was a story that the present box had been made with some pieces of the box that had preceded it, the one that had been constructed when the first people settled down to make a village here. Every year, after the lottery, Mr. Summers began talking again about a new box, but every year the subject was allowed to fade off without anything's being done. The black box grew shabbier each year: by now it was no longer completely black but splintered badly along one side to show the original wood color, and in some places faded or stained. Mr. Martin and his oldest son, Baxter, held the black box securely on the stool until Mr. Summers had stirred the papers thoroughly with his hand. Because so much of the ritual had been forgotten or discarded, Mr. Summers had been successful in having slips of paper substituted for the chips of wood that had been used for generations. Chips of wood, Mr. Summers had argued, had been all very well when the village was tiny, but now that the population was more than three hundred and likely to keep on growing, it was necessary to use something that would fit more easily into he black box. The night before the lottery, Mr. Summers and Mr. Graves made up the slips of paper and put them in the box, and it was then taken to the safe of Mr. Summers' coal company and locked up until Mr. Summers was ready to take it to the square next morning. The rest of the year, the box was put way, sometimes one place, sometimes another; it had spent one year in Mr. Graves's barn and another year underfoot in the post office. and sometimes it was set on a shelf in the Martin grocery and left there.

Thinking back, ladies, looking back, gentlemen, thinking and looking back on my European tour, I feel a heavy sadness descend upon me. Of course, it is partly nostalgia, looking back at that younger me, bustling around Europe, having adventures and overcoming obstacles that, at the time, seemed so overwhelming, but now seem like just the building blocks of a harmless story. But here is the truth of nostalgia: we don’t feel it for who we were, but who we weren’t. We feel it for all the possibilities that were open to us, but that we didn’t take. Time is like wax, dripping from a candle flame. In the moment, it is molten and falling, with the capability to transform into any shape. Then the moment passes, and the wax hits the table top and solidifies into the shape it will always be. It becomes the past, a solid single record of what happened, still holding in its wild curves and contours the potential of every shape it could have held. It is impossible - no matter how blessed you are by luck or the government or some remote, invisible deity gently steering your life with hands made of moonlight and wind - it is impossible not to feel a little sad, looking at that bit of wax. That bit of the past. It is impossible not to think of all the wild forms that wax now will never take. The village, glimpsed from a train window, beautiful and impossible and impossibly beautiful on a mountaintop, and you wonder what it would be if you stepped off the train and walked up the trail to its quiet streets and lived there for the rest of your life. The beautiful face of that young man from Luftknarp, with his gaping mouth and ashy skin, last seen already half-turned away as you boarded the bus, already turning towards a future without you in it, where this thing between you that seemed so possible now already and forever never was. All variety of lost opportunity spied from the windows of public transportation, really. It can be overwhelming, this splattered, inert wax recording every turn not taken. ‘What’s the point?’ you ask. ’Why bother?’ you say. ’Oh, Cecil,’ you cry. ’Oh, Cecil.’ But then you remember - I remember! - that we are even now in another bit of molten wax. We are in a moment that is still falling, still volatile, and we will never be anywhere else. We will always be in that most dangerous, most exciting, most possible time of all: the Now. Where we never can know what shape the next moment will take. Stay tuned next for, well, let’s just find out together, shall we?

He imagined a town called A. Around the communal fire they’re shaping arrowheads and carving tributes o the god of the hunt. One day some guys with spears come over the ridge, perform all kinds of meanness, take over, and the new guys rename the town B. Whereupon they hang around the communal fire sharpening arrowheads and carving tributes to the god of the hunt. Some climatic tragedy occurs — not carving the correct tributary figurines probably — and the people of B move farther south, where word is there’s good fishing, at least according to those who wander to B just before being cooked for dinner. Another tribe of unlucky souls stops for the night in the emptied village, looks around at the natural defenses provided by the landscape, and decides to stay awhile. It’s a while lot better than their last digs — what with the lack of roving tigers and such — plus it comes with all the original fixtures. they call the place C, after their elder, who has learned that pretending to talk to spirits is a fun gag that gets you stuff. Time passes. More invasions, more recaptures, D, E, F, and G. H stands as it is for a while. That ridge provides some protection from the spring floods, and if you keep a sentry up there you can see the enemy coming for miles. Who wouldn’t want to park themselves in that real estate? The citizens of H leave behind cool totems eventually toppled by the people of I, whose lack of aesthetic sense if made up for by military acumen. J, K, L, adventures in thatched roofing, some guys with funny religions from the eastern plains, long-haired freaks from colder climes, the town is burned to the ground and rebuilt by still more fugitives. This is the march of history. And conquest and false hope. M falls to plague, N to natural disaster — same climatic tragedy as before, apparently it’s cyclical. Mineral wealth makes it happen for the O people, and the P people are renowned for their basket weaving. No one ever — ever — mentions Q. The dictator names the city after himself; his name starts with the letter R. When the socialists come to power they spend a lot of time painting over his face, which is everywhere. They don’t last. Nobody lasts because there’s always somebody else. They all thought they owned it because they named it and that was their undoing. They should have kept the place nameless. They should have been glad for their good fortune, and left it at that. X, Y, Z.

One part of my life was given over to the service of destruction; it belonged to hate, to enmity, to killing. But life remained in me. And that in itself is enough, of itself almost a purpose and a way. I will work in myself and be ready; I will bestir my hands and my thoughts. I will not take myself very seriously, nor push on when sometimes I should like to be still. There are many things to be built and almost everything to repair; it is enough that I work to dig out again what was buried during the years of shells and machine guns. Not every one need be a pioneer; there is employment for feebler hands, lesser powers. It is there I mean to look for my place. Then the dead will be silenced and the past not pursue me any more; it will assist me instead. How simple it is—but how long it has taken to arrive there! And I might still be wandering in the wilderness, have fallen victim to the wire snares and the detonators, had Ludwig’s death not gone up before us like a rocket, lighting to us the way. We despaired when we saw how that great stream of feeling common to us all—that will to a new life shorn of follies, a life recaptured on the confines of death—did not sweep away before it all survived half-truth and self-interest, so to make a new course for itself, but instead of that merely trickled away in the marshes of forgetfulness, was lost among the bogs of fine phrases, and dribbled away along the ditches of social activities, of cares and occupations. But to-day I know that all life is perhaps only a getting ready, a ferment in the individual, in many cells, in many channels, each for himself; and if the cells and channels of a tree but take up and carry farther the onward urging sap, there will emerge at the last rustling and sunlit branches—crowns of leaves and freedom. I will begin. It will not be that consummation of which we dreamed in our youth and that we expected after the years out there. It will be a road like other roads, with stones and good stretches, with places torn up, with villages and fields—a road of toil. And I shall be alone. Perhaps sometimes I shall find some one to go with me a stage of the journey—but for all of it, probably no one. And I may often have to hump my pack still, when my shoulders are already weary; often hesitate at the crossways and boundaries; often have to leave something behind me, often stumble and fall. But I will get up again and not just lie there; I will go on and not look back. —Perhaps I shall never be really happy again; perhaps the war has destroyed that, and no doubt I shall always be a little inattentive and nowhere quite at home—but I shall probably never be wholly unhappy either—for something will always be there to sustain me, be it merely my own hands, or a tree, or the breathing earth. The

She was too compelling to look at directly. Bright like the sun, bright and terrible. Only one other being could look upon her, and that was Death. And so…they became lovers.” He said the word like a caress, like velvet again, and my face began to heat. “Together they forged great and hellish things,” Jesse murmured. “Lightning and waterfalls that churned into clouds off the tip of the world. Chasms so winding deep that daylight never traced their endings. They dreamed through golden days and silvered nights. All the other creatures envied or adored them, because Death and the Elemental were destruction and creation joined as One. In the natural order of things, they should not have been stronger joined. And yet they were.” He shifted, coming closer to me. A hand settled lightly atop my chest, directly over my heart. At our feet the seawater splashed a little, as if disturbed by something rolling over in the dark, distant deep. “Centuries passed, and mankind began to devour the earth, even the wildest places. They had tools to invent and wars to fight and grubby, short lives. Nothing about them dwelled in the magic of the ancient spirits. So although Death, the Great Hunter, prospered as he sieved through their villages, the Elemental, strong as she once was, thinned into a web of gossamer. Human lives simply tore her apart.” His hand was so warm. Warmer than I, warmer than the air, and still just barely touching me. The light behind my lids never lifted, so I knew he wasn’t glowing, but it felt as if he held a tame coal to my skin. It felt like something painless and ablaze, drawing my heart upward into it. “The time had come for them to divide. Like all the rest of her kind, the goddess would cease to exist; she had no other course. So Death and the Elemental severed their joined hearts. For a few generations more, she drifted alone through the last of the sacred places, deserts, and fjords, lands so savage no human had yet desecrated them.” Jesse’s voice dropped to a whisper. Without moving his hand, he bent down, his breath in my ear. “And Death, who had tasted her brightness, who would never cease to crave it-who knew her better than all the collected souls of all mankind’s weeping dead-became her Hunter.” I was hot and strange. I was light and lighter, and curiously my breath came so slow. “Until at last, one starry night beneath the desert moon, she surrendered to him. She allowed him to come to her, to make love to her. To unravel her…” It was happening. He sat next to her and bore witness to her change, her pulse slowing, her skin blanching, the fans of her lashes stark against the contours of her face. He kept his palm there against her chest, up and down with her respiration, and watched the smoke begin to curl around his fingers. “And by his hand, in the bliss of her unraveling, she touched the stars…” Lora’s breath hitched. Her heart skipped-then stopped. If I could take this from you, Jesse thought fiercely. If I could take this one moment away from you and keep the agony for myself- Her eyes opened, went instantly to his. Panic lit her gaze. Then she was gone. His fingers sank to the floor through her empty blouse, and the blue dragon smoke that was all of Eleanore Jones rose into strands above him.

I’m supposed to believe you sold your emeralds out of some freakish start-out of a frivolous desire to go off with a man you claim was your brother?” “Goodness, I don’t know what you are supposed to believe. I only know I did it.” “Madam!” he snapped. “You were on the verge of tears, according to the jeweler to whom you sold them. If you were in a frivolous mood, why were you on the verge of tears?” Elizabeth gave him a vacuous look. “I liked my emeralds.” Guffaws erupted from the floor to the rafters. Elizabeth waited until they were finished before she leaned forward and said in a proud, confiding tone, “My husband often says that emeralds match my eyes. Isn’t that sweet?” Sutherland was beginning to grind his teeth, Elizabeth noted. Afraid to look at Ian, she cast a quick glance at Peterson Delham and saw him watching her alertly with something that might well have been admiration. “So!” Sutherland boomed in a voice that was nearly a rant. “We are now supposed to believe that you weren’t really afraid of your husband?” “Of course I was. Didn’t I just explain how very cruel he can be?” she asked with another vacuous look. “Naturally, when Bobby showed me his back I couldn’t help thinking that a man who would threaten to cut off his wife’s allowance would be capable of anything-“ Loud guffaws lasted much longer this time, and even after they died down, Elizabeth noticed derisive grins where before there had been condemnation and disbelief. “And,” Sutherland boomed, when he could be heard again, “we are also supposed to believe that you ran off with a man you claim is your brother and have been cozily in England somewhere-“ Elizabeth nodded emphatically and helpfully provided, “In Helmshead-it is the sweetest village by the sea. I was having a very pleas-very practical time until I read the paper and realized my husband was on trial. Bobby didn’t think I should come back at all, because he was still provoked about being put on one of my husband’s ships. But I thought I ought.” “And what,” Sutherland gritted, “do you claim is the reason you decided you ought?” “I didn’t think Lord Thornton would like being hanged-“ More mirth exploded through the House, and Elizabeth had to wait for a full minute before she could continue. “And so I gave Bobby my money, and he went on to have his own agreeable life, as I said earlier.” “Lady Thornton,” Sutherland said in an awful, silky voice that made Elizabeth shake inside, “does the word ‘perjury’ have any meaning to you?” “I believe,” Elizabeth said, “it means to tell a lie in a place like this.” “Do you know how the Crown punishes perjurers? They are sentenced to gaol, and they live their lives in a dark, dank cell. Would you want that to happen to you?” “It certainly doesn’t sound very agreeable,” Elizabeth said. “Would I be able to take my jewels and gowns?” Shouts of laughter shook the chandeliers that hung from the vaulted ceilings. “No, you would not!” “Then I’m certainly happy I haven’t lied.