The Book Of Accidents Quotes

I just got out of the hospital. I was in a speed reading accident. I hit a book mark and flew across the room.

We throw our parties; we abandon our families to live alone in Canada; we struggle to write books that do not change the world, despite our gifts and our unstinting efforts, our most extravagant hopes. We live our lives, do whatever we do, and then we sleep. It's as simple and ordinary as that. A few jump out windows, or drown themselves, or take pills; more die by accident; and most of us are slowly devoured by some disease, or, if we're very fortunate, by time itself. There's just this for consolation: an hour here or there when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined, though everyone but children (and perhaps even they) know these hours will inevitably be followed by others, far darker and more difficult. Still, we cherish the city, the morning; we hope, more than anything, for more. Heaven only knows why we love it so...

Razo was sorely tempted to assert that all was true and he'd lost his horns and tail in a tragic childhood accident

In fact I don't think of literature, or music, or any art form as having a nationality. Where you're born is simply an accident of fate. I don't see why I shouldn't be more interested in say, Dickens, than in an author from Barcelona simply because I wasn't born in the UK. I do not have an ethno-centric view of things, much less of literature. Books hold no passports. There's only one true literary tradition: the human.

For I’m neither a submitter nor a hating retaliator, I acknowledge the boundaries of my existence; yet, I still care. I care regardless of the way they choose to reduce me to the brand that is the birthmark of the accident of my conception. I care less about what that brand signifies in terms of my character, potential, and intentions. For the harmed I care. For the real victims. It’s the most basic of my mandatory civil duties. Only in caring, am I a citizen of the world.

I write to find strength. I write to become the person that hides inside me. I write to light the way through the darkness for others. I write to be seen and heard. I write to be near those I love. I write by accident, promptings, purposefully and anywhere there is paper. I write because my heart speaks a different language that someone needs to hear. I write past the embarrassment of exposure. I write because hypocrisy doesn’t need answers, rather it needs questions to heal. I write myself out of nightmares. I write because I am nostalgic, romantic and demand happy endings. I write to remember. I write knowing conversations don’t always take place. I write because speaking can’t be reread. I write to sooth a mind that races. I write because you can play on the page like a child left alone in the sand. I write because my emotions belong to the moon; high tide, low tide. I write knowing I will fall on my words, but no one will say it was for very long. I write because I want to paint the world the way I see love should be. I write to provide a legacy. I write to make sense out of senselessness. I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding. I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers. I write because one day someone will tell me that my emotions were not a waste of time. I write because God loves stories. I write because one day I will be gone, but what I believed and felt will live on.

But by accident, not by cunning calculation, books, because of their weight and texture, and because of their sweetly token resistance to manipulation, involve our hands and eyes, and then our minds and souls, in a spiritual adventure I would be very sorry for my grandchildren not to know about.

He opened the book at random, or so he believed, but a book is like a sandy path which keeps the indent of footsteps.

Slightest accidents open up new worlds.

He is a man like any other… he will become what he will become, out of the force of his person and the accident of his fate.

Accidents are not accidents but precise arrivals at the wrong right time.

emotion is first of all and in principle an accident

O grace abounding and allowing me to dare to fix my gaze on the Eternal Light, so deep my vision was consumed in it! I saw how it contains within its depths all things bound in a single book by love of which creation is the scattered leaves: how substance, accident, and their relation were fused in such a way that what I now describe is but a glimmer of that Light.

There's this magical place,' he says with mock solemnity, 'called a library--I don't know if you've heard of it, but they have books, and also newspaper, and back issues of newspapers...

No one’s fated or doomed to love anyone. The accidents happen, we’re not heroines, they happen in our lives like car crashes, books that change us, neighborhoods we move into and come to love.

No one’s fated or doomed to love anyone. The accidents happen, we’re not heroines, they happen in our lives like car crashes, books that change us, neighborhoods we move into and come to love. Tristan and Isolde is scarcely the story, women at least should know the difference between love and death. No poison cup, no penance. Merely a notion that the tape-recorder should have caught some ghost of us: that tape-recorder not merely played but should have listened to us, and could instruct those after us: this we were, this is how we tried to love, and these are the forces they had ranged against us, and these are the forces we had ranged within us, within us and against us, against us and within us.

Visionary companies make some of their best moves by experimentation, trial and error, opportunism, and—quite literally—accident. What looks in retrospect like brilliant foresight and preplanning was often the result of “Let’s just try a lot of stuff and keep what works.

The author would also like to acknowledge makers of comic book villains and superheroes, those who invented, or at least popularized, the notion of the normal, mild-mannered person transformed into a mutant by freak accident.

I have no idea whether beginning with my accident was the best decision, as I've never written a book before. Truth be told, I started with the crash because I wanted to catch your interest and drag you into the story. You're still reading, so it seems to have worked.

He though of all the different ways to make it look like an accident.

When two persons are too close, they fall apart.

We throw our parties; we abandon our families to live alone in Canada; we struggle to write books that do not change the world, despite our gifts and our unstinting efforts, our most extravagant hopes. We live our lives, do whatever we do, and then we sleep--it's as simple and ordinary as that. A few jump out of windows or drown themselves or take pills; more die by accident; and most of us, the vast majority, are slowly devoured by some disease or, if we're very fortunate, by time itself.

These brats know a lot of words,' Shirley said, in her ridiculously fake high voice. 'They're book addicts. But we can still create an accident and win the fortune!

Faster is fatal, slower is safe.

Some day (when we have enough spiritual growth) we will come to see that the seemingly disjointed happenings, the apparent accidents, are really part of an orderly pattern.

The truth is, I am a person who is meant to stay home and read books, maybe have a nice dinner, and then put myself to bed. That is the life I’m built for. It’s all about the setting. When I’m out in public, it’s as if my system gets overwhelmed and instantaneously short-circuits. I turned the phoenix into ashes, by accident, in small ways, all the time.

[Books] were devices as crassly practical for storing or transmitting language, as the latest Silicon Valley miracles. But by accident, not by cunning calculation, books, because of their weight and texture, and because of their sweetly token resistance to manipulation, involve our hands and eyes, and then our mind and souls, in a spiritual adventure.

Every day, people engaged in the clever defiance of their own intuition become, in mid-thought, victims of violence and accidents. So when we wonder why we are victims so often, the answer is clear: It is because we are so good at it. A woman could offer no greater cooperation to her soon-to-be attacker than to spend her time telling herself, “But he seems like such a nice man.” Yet this is exactly what many people do. A woman is waiting for an elevator, and when the doors open she sees a man inside who causes her apprehension. Since she is not usually afraid, it may be the late hour, his size, the way he looks at her, the rate of attacks in the neighborhood, an article she read a year ago—it doesn’t matter why. The point is, she gets a feeling of fear. How does she respond to nature’s strongest survival signal? She suppresses it, telling herself: “I’m not going to live like that, I’m not going to insult this guy by letting the door close in his face.” When the fear doesn’t go away, she tells herself not to be so silly, and she gets into the elevator. Now, which is sillier: waiting a moment for the next elevator, or getting into a soundproofed steel chamber with a stranger she is afraid of? The inner voice is wise, and part of my purpose in writing this book is to give people permission to listen to it.

A book, like a person, has its fortunes with one; is lucky or unlucky in the precise moment of its falling in our way, and often by some happy accident counts with us for something more than its independent value.

No moment of charm without long roots in the past, no moment of charm is born on bare soil, a careless accident of beauty, but is the sum of great sorrows, growths, and efforts.

In horror’s wake, hope was a bountiful garden.

We have a bad habit of seeing books as sort of cheaply made movies where the words do nothing but create visual narratives in our heads. So too often what passes for literary criticism is "I couldn't picture that guy", or "I liked that part", or "this part shouldn't have happened." That is, we've left language so far behind that sometimes we judge quality solely based on a story's actions. So we can appreciate a novel that constructs its conflicts primarily through plot - the layered ambiguity of a fatal car accident caused by a vehicle owned by Gatsby but driven by someone else, for instance. But in this image-drenched world, sometimes we struggle to appreciate and celebrate books where the quality arises not exclusively from plot but also from the language itself.

Books, buckles, papers, and scarves. After Gleb's accident, she thought she would die. She thought she had. This date took him and pulled her down after, grief determined gravity. But now she would live. She had to. It was what she did: live while others could not. There was no pleasure in it.

Pain is a part of who we are. You can’t destroy it, and you can’t hide from it.

Books were usually a way for her to power her own brain down and borrow someone else’s for a while.

sadly, the book of Job was but a speed bump on the Deuteronomic superhighway. The delusion of divine punishments still prevails inside and outside religion over the clear evidence of human consequences, random accidents, and natural disasters. This does not simply distort theology; it defames the very character of God.

It is a view of suffering, of the pain of others, that is rooted in religious thinking, which links pain to sacrifice, sacrifice to exaltation - a view that could not be more alien to a modern sensibility, which regards suffering as something that is a mistake or an accident or a crime. Something to be fixed. Something to be refused. Something that makes one feel powerless.

They fell to, on the ground. You’ve seen a baker rolling dough. He kneads it gently at first, then more roughly. He pounds it on the board. It softly groans under his palms. Now he spreads it out and rolls it flat. Then he bunches it, and rolls it all the way out again, thin. Now he adds water and mixes it well. Now salt, and a little more salt. Now he shapes itdelicately to its final shape and slides itinto the oven, which is already hot. You remember breadmaking! This is how your desire tangles with a desired one. And it’s not justa metaphor for a man and a woman making love. Warriors in battle do this too. A great mutual embrace is always happening between the eternal and what dies, between essence and accident.

Even if you are not actively mourning a loved one right now, you bought my book for a reason, and I don’t think there are many accidents in our world. Maybe you were meant to read this today, come back to it another time, or earmark it for a friend. No matter what, I’ll bet it’s just what Spirit ordered.

Healthy is not an accident, a gift, or a rabbit’s foot. It is a HABIT. It is a habit that will shape the bodies that we were born with, a habit that will support the genetic makeup we got from our parents.

It's certainly true that Chernobyl, while an accident in the sense that no one intentionally set it off, was also the deliberate product of a culture of cronyism, laziness, and a deep-seated indifference toward the general population. The literature on the subject is pretty unanimous in its opinion that the Soviet system had taken a poorly designed reactor and then staffed it with a group of incompetents. It then proceeded, as the interviews in this book attest, to lie about the disaster in the most criminal way. In the crucial first ten days, when the reactor core was burning and releasing a steady stream of highly radioactive material into the surrounding areas, the authorities repeatedly claimed that the situation was under control. . . In the week after the accident, while refusing to admit to the world that anything really serious had gone wrong, the Soviets poured thousands of men into the breach. . . The machines they brought broke down because of the radiation. The humans wouldn't break down until weeks or months later, at which point they'd die horribly.

No one's fated or doomed to love anyone. The accidents happen, we're not heroines, they happen in our lives like car crashes, books that change us, neighborhoods we move into and come to love. Tristan und Isolde is scarcely the story, women at least should know the difference between love and death. No prison cup, no penance. Merely a notion that the tape - recorder should have caught some ghost of us: that tape - recorder not merely played but should have listened to us, and could instruct those after us: this we were, this is how we tried to love, and these are the forces we had ranged within us within us and against us, against us and within us.

I look back now with amazement at the small accidents that put certain books before me.

Question marks were shaped like a hook for a reason...

Or maybe, just maybe, he got it into his head that he was doing something good. Something righteous. Some of the worst things are done under righteous pretense.

Some people create war and misery, some create wealth and money, and some create ideas and art. But we all create our own deaths, fashioned out of our lives. Nobody will remember how you died, if nobody remembers how you lived. Forgoing freak accidents, we all choose how we die by how we live. Suicide, old age, AIDS, Cirrhosis of the liver, our deaths tell of how we lived. And even in a freak accident, if we are worth remembering, our lives will overshadow our deaths. If Henry Ford had gotten run over by a Mercedes, people would still remember him as the driver of the hit and run that changed history with his automobile assembly lines.

...it all remained unreadable for him, though reading, he felt, was not a natural thing and should not be done to people. In general, people were not road maps. People were not hieroglyphs or books. They were not stories. A person was a collection of accidents. A person was an infinite pile of rocks with things growing underneath.

That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilized form of autobiography, as it deals not with events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind...The best that one can say of most modern creative art is that it is just a little less vulgar than reality, and so the critic, with his fine sense of distinction and sure instinct of delicate refinement, will prefer to look into the silver mirror or through the woven veil, and will turn his eyes away from the chaos and clamor of actual existence, though the mirror be tarnished and the veil be torn. His sole aim is to chronicle his own impressions. It is for him that pictures are painted, books written, and marble hewn into form.

In general, people were not road maps. People were not hieroglyphs or books. They were not stories. A person was a collection of accidents. A person was an infinite pile of rocks with things growing underneath.

There’s something about a book you find by accident, a book no one else seems to have heard of, a book that thrills and then becomes a part of you, when it’s one you so easily might never have read at all—it seems like it found you.

...our literature has fallen upon evil days...Read the latest book. What do you find? Simple anecdotes: murder, suicide and accident stories copied right out of the newspaper, tiresome sketches and wormy tales, all written in a colourless style and containing not the faintest outlook on life nor an appreciation of the human nature.

Cavendish is a book in himself. Born into a life of sumptuous privilege- his grandfathers were dukes, respectively, of Devonshire and Kent- he was the most gifted English scientist of his age, but also the strangest. He suffered, in the words of one of his few biographers, from shyness to a "degree bordering on disease." Any human contact was for him a source of the deepest discomfort. Once he opened his door to find an Austrian admirer, freshly arrived from Vienna, on the front step. Excitedly the Austrian began to babble out praise. For a few moments Cavendish received the compliments as if they were blows from a blunt object and then, unable to take any more, fled down the path and out the gate, leaving the front door wide open. It was some hours before he could be coaxed back to the property. Even his housekeeper communicated with him by letter. Although he did sometimes venture into society- he was particularly devoted to the weekly scientific soirees of the great naturalist Sir Joseph Banks- it was always made clear to the other guests that Cavendish was on no account to be approached or even looked at. Those who sought his views were advised to wander into his vicinity as if by accident and to "talk as it were into vacancy." If their remarks were scientifically worthy they might receive a mumbled reply, but more often than not they would hear a peeved squeak (his voice appears to have been high pitched) and turn to find an actual vacancy and the sight of Cavendish fleeing for a more peaceful corner.

Farmer points to what he calls "structural violence," which influences "the nature and distribution of extreme suffering." The book is, as he explains, "a physician-anthropologist's effort to reveal the ways in which the most basic right-the right to survive-is trampled in an age of great affluence." He argues: "Human rights violations are not accidents; they are not random in distribution or effect. Rights violations are, rather, symptoms of deeper pathologies of power and are linked intimately to the social conditions that so often determine who will suffer abuse and who will be shielded from harm.

Is it always the same story, then? Somebody loves and somebody doesn't, or loves less, or loves someone else. Or someone is a good soul and someone a villain. And there are just these episodes, anecdotes, places, pauses, hailings of cabs, overcomings of obstacles, or instances of being overcome by them, illnesses, accidents, recoveries, wars, desires, welcomings, rebuffs, baskings (rare, not so long), pinings (more frequent, perhaps, and longer), actions, failures to act, hesitations, proliferations, endings of the line, until there is death. Well, no. I have a wonderful, fond memory, about love and trust and books.

Society never advances. It recedes as fast on one side as it gains on the other. It undergoes continual changes; it is barbarous, it is civilized, it is christianized, it is rich, it is scientific; but this change is not amelioration. For every thing that is given, something is taken. Society acquires new arts, and loses old instincts. What a contrast between the well-clad, reading, writing, thinking American, with a watch, a pencil, and a bill of exchange in his pocket, and the naked New Zealander, whose property is a club, a spear, a mat, and an undivided twentieth of a shed to sleep under! But compare the health of the two men, and you shall see that the white man has lost his aboriginal strength. If the traveller tell us truly, strike the savage with a broad axe, and in a day or two the flesh shall unite and heal as if you struck the blow into soft pitch, and the same blow shall send the white to his grave. The civilized man has built a coach, but has lost the use of his feet. He is supported on crutches, but lacks so much support of muscle. He has a fine Geneva watch, but he fails of the skill to tell the hour by the sun. A Greenwich nautical almanac he has, and so being sure of the information when he wants it, the man in the street does not know a star in the sky. The solstice he does not observe; the equinox he knows as little; and the whole bright calendar of the year is without a dial in his mind. His note-books impair his memory; his libraries overload his wit; the insurance-office increases the number of accidents; and it may be a question whether machinery does not encumber; whether we have not lost by refinement some energy, by a Christianity entrenched in establishments and forms, some vigor of wild virtue. For every Stoic was a Stoic; but in Christendom where is the Christian?

Is there a difference between happiness and inner peace? Yes. Happiness depends on conditions being perceived as positive; inner peace does not. Is it not possible to attract only positive conditions into our life? If our attitude and our thinking are always positive, we would manifest only positive events and situations, wouldn’t we? Do you truly know what is positive and what is negative? Do you have the total picture? There have been many people for whom limitation, failure, loss, illness, or pain in whatever form turned out to be their greatest teacher. It taught them to let go of false self-images and superficial ego-dictated goals and desires. It gave them depth, humility, and compassion. It made them more real. Whenever anything negative happens to you, there is a deep lesson concealed within it, although you may not see it at the time. Even a brief illness or an accident can show you what is real and unreal in your life, what ultimately matters and what doesn’t. Seen from a higher perspective, conditions are always positive. To be more precise: they are neither positive nor negative. They are as they are. And when you live in complete acceptance of what is — which is the only sane way to live — there is no “good” or “bad” in your life anymore. There is only a higher good — which includes the “bad.” Seen from the perspective of the mind, however, there is good-bad, like-dislike, love-hate. Hence, in the Book of Genesis, it is said that Adam and Eve were no longer allowed to dwell in “paradise” when they “ate of the tree of the knowledge of good and evil.

The instruction here is not for every kind of writer - not for the writer of nurse books or thrillers or porno or the cheaper sort of sci-fi - though it is true that what holds for the most serious kind of fiction will generally hold for junk fiction as well. (Not everyone is capable of writing junk fiction: It requires an authentic junk mind. Most creative-writing teachers have had the experience of occasionally helping to produce, by accident, a pornographer. The most elegant techniques in the world, filtered through a junk mind, become elegant junk techniques.)

Hi there, cutie." Ash turned his head to find an extremely attractive college student by his side. With black curly hair, she was dressed in jeans and a tight green top that displayed her curves to perfection. "Hi." "You want to go inside for a drink? It's on me." Ash paused as he saw her past, present, and future simultaneously in his mind. Her name was Tracy Phillips. A political science major, she was going to end up at Harvard Med School and then be one of the leading researchers to help isolate a mutated genome that the human race didn't even know existed yet. The discovery of that genome would save the life of her youngest daughter and cause her daughter to go on to medical school herself. That daughter, with the help and guidance of her mother, would one day lobby for medical reforms that would change the way the medical world and governments treated health care. The two of them would shape generations of doctors and save thousands of lives by allowing people to have groundbreaking medical treatments that they wouldn't have otherwise been able to afford. And right now, all Tracy could think about was how cute his ass was in leather pants, and how much she'd like to peel them off him. In a few seconds, she'd head into the coffee shop and meet a waitress named Gina Torres. Gina's dream was to go to college herself to be a doctor and save the lives of the working poor who couldn't afford health care, but because of family problems she wasn't able to take classes this year. Still Gina would tell Tracy how she planned to go next year on a scholarship. Late tonight, after most of the college students were headed off, the two of them would be chatting about Gina's plans and dreams. And a month from now, Gina would be dead from a freak car accident that Tracy would see on the news. That one tragic event combined with the happenstance meeting tonight would lead Tracy to her destiny. In one instant, she'd realize how shallow her life had been, and she'd seek to change that and be more aware of the people around her and of their needs. Her youngest daughter would be named Gina Tory in honor of the Gina who was currently busy wiping down tables while she imagined a better life for everyone. So in effect, Gina would achieve her dream. By dying she'd save thousands of lives and she'd bring health care to those who couldn't afford it... The human race was an amazing thing. So few people ever realized just how many lives they inadvertently touched. How the right or wrong word spoken casually could empower or destroy another's life. If Ash were to accept Tracy's invitation for coffee, her destiny would be changed and she would end up working as a well-paid bank officer. She'd decide that marriage wasn't for her and go on to live her life with a partner and never have children. Everything would change. All the lives that would have been saved would be lost. And knowing the nuance of every word spoken and every gesture made was the heaviest of all the burdens Ash carried. Smiling gently, he shook his head. "Thanks for asking, but I have to head off. You have a good night." She gave him a hot once-over. "Okay, but if you change your mind, I'll be in here studying for the next few hours." Ash watched as she left him and entered the shop. She set her backpack down at a table and started unpacking her books. Sighing from exhaustion, Gina grabbed a glass of water and made her way over to her... And as he observed them through the painted glass, the two women struck up a conversation and set their destined futures into motion. His heart heavy, he glanced in the direction Cael had vanished and hated the future that awaited his friend. But it was Cael's destiny. His fate... "Imora thea mi savur," Ash whispered under his breath in Atlantean. God save me from love.

If there was no God, we would all be “accidents,” the result of astronomical random chance in the universe. You could stop reading this book, because life would have no purpose or meaning or significance. There would be no right or wrong, and no hope beyond your brief years here on earth.

Love hurts. Think back over romance novels you’ve loved or the genre-defining books that drive our industry. The most unforgettable stories and characters spring from crushing opposition. What we remember about romance novels is the darkness that drives them. Three hundred pages of folks being happy together makes for a hefty sleeping pill, but three hundred pages of a couple finding a way to be happy in the face of impossible odds makes our hearts soar. In darkness, we are all alone. So don’t just make love, make anguish for your characters. As you structure a story, don’t satisfy your hero’s desires, thwart them. Make sure your solutions create new problems. Nurture your characters doubts and despair. Make them earn the happy ending they want, even better…make them deserve it. Delay and disappointment charge situations and validate character growth. Misery accompanies love. It’s no accident that many of the stories we think of as timeless romances in Western Literature are fiercely tragic: Romeo and Juliet, Tristan and Isolde, Cupid and Psyche… the pain in them drags us back again and again, hoping that this time we’ll find a way out of the dark. Only if you let your characters get lost will we get lost in them. And that, more than anything else, is what romance can and should do for its protagonists and its readers: lead us through the labyrinth, skirt the monstrous despair roaming its halls, and find our way into daylight.

The connection being that in my head all language began in song and that the best stories inevitably reutrn to song, to a state of rapture. For years, I had assumed that throwing beautiful words at the page would make my prose feel true. But I had the process exactly backward. It was truth that lifted the language into beauty and toward song. It was a matter of doing what Joe Henry did, of pursuing characters into moments of emotional truth and slowing down. The result was a compression of sensual and psychological detail that released the rhythm and melody in language itself, what Longfellow called "the happy accidents of language.

The title is actually an echo of one of the last lines of the book. Everything I Never Told You refers, on the one hand, to the secrets that the members of the Lee family keep from each other—all the things they lock inside because they’re afraid to say them or they’re ashamed to say them. But it also refers to all the things they don’t say by accident, so to speak: the things they forget to say because they don’t seem important. After Lydia’s death, each member of her family thinks back to the last time they saw her and what they’d have said if they knew it was the last time. The things that go unsaid are often the things that eat at you—whether because you didn’t get to have your say, or because the other person never got to hear you and really wanted to.

Things happen to people by accident,” she used to say. “A lot of nice accidents have happened to me. It just happened that I always liked lessons and books, and could remember things when I learned them. It just happened that I was born with a father who was beautiful and nice and clever, and could give me everything I liked. Perhaps I have not really a good temper at all, but if you have everything you want and everyone is kind to you, how can you help but be good-tempered? I don’t know”--looking quite serious--“how I shall ever find out whether I am really a nice child or a horrid one. Perhaps I’m a hideous child, and no one will ever know, just because I never have any trials.” “Lavinia has no trials,” said Ermengarde, stolidly, “and she is horrid enough.

Simply, this is what she believed: she believed that the universe showed each of us certain things, that it made certain things open. Many people lived a peace life with nothing ever happening to them. But into some families other things fell. Some families were afflicted with random tragedies - car accidents, plane accidents, hang gliding accidents, bus crashes, knifing, drownings, scarves getting caught under the wheels of their Rolls Royces, breaking their necks.

Drama usually bases itself on the bedrock of original sin, whether the writer thinks in theological terms or not. Then, too, any character in a serious novel is supposed to carry a burden of meaning larger than himself. The novelist doesn’t write about people in a vacuum; he writes about people in a world where something is obviously lacking, where there is the general mystery of incompleteness and the particular tragedy of our own times to be demonstrated, and the novelist tries to give you, within the form of the book, a total experience of human nature at any time. For this reason, the greatest dramas naturally involve the salvation or loss of the soul. Where there is no belief in the soul, there is very little drama. The Christian novelist is distinguished from his pagan colleagues by recognizing sin as sin. According to his heritage, he sees it not as a sickness or an accident of the environment, but as a responsible choice of offense against God which involves his eternal future. Either one is serious about salvation or one is not. And it is well to realize that the maximum amount of seriousness admits the maximum amount of comedy. Only if we are secure in our beliefs can we see the comical side of the universe. One reason a great deal of our contemporary fictions is humorless is because so many of these writers are relativists and have to be continually justifying the actions of their characters on a sliding scale of values.

He had once been a wanderer of libraries and a lover of the finest literature in history. But when real life diminished him, when friends died, when a love failed, when there were too many deaths and accidents surrounding him, he discovered that his faith in books had failed because they could not help him when he needed the help. Turning on them, he lit a match.

Further, all men are to be loved equally. But since you cannot do good to all, you are to pay special regard to those who, by the accidents of time, or place, or circumstance, are brought into closer connection with you. For, suppose that you had a great deal of some commodity, and felt bound to give it away to somebody who had none, and that it could not be given to more than one person; if two persons presented themselves, neither of whom had either from need or relationship a greater claim upon you than the other, you could do nothing fairer than choose by lot to which you would give what could not be given to both. Just so among men: since you cannot consult for the good of them all, you must take the matter as decided for you by a sort of lot, according as each man happens for the time being to be more closely connected with you. Book 1, Chapter 28 - How we are to decide whom to aid

Considering thus how much honor is awarded to antiquity, and how many times—letting pass infinite other examples—a fragment of an ancient statue has been bought at high price because someone wants to have it near oneself, to honor his house with it, and to be able to have it imitated by those who delight in that art, and how the latter then strive with all industry to represent it in all their works; and seeing, on the other hand, that the most virtuous works the histories show us, which have been done by ancient kingdoms and republics, by kings, captains, citizens, legislators, and others who have labored for their fatherland, are rather admired than imitated—indeed they are so much shunned by everyone in every least thing that no sign of that ancient virtue remains with us—I can do no other than marvel and grieve… From this it arises that the infinite number who read [the histories] take pleasure in hearing of the variety of accidents contained within them without thinking of imitating them, judging that imitation is not only difficult but impossible—as if heaven, sun, elements, men had varied in motion, order, and power from what they were in antiquity. Wishing, therefore, to turn men from this error, I have judged it necessary to write on all those books of Titus Livy...

What you read and how deeply you read matters almost as much as how you love, work, exercise, vote, practice charity, strive for social justice, cultivate kindness and courtesy, worship if you are capable of worship. The mind is an activity and will decay into dark inertia if not sustained by the sustenance of reading. The great poems, plays, novels, stories teach us how to go on living, even when submerged under forty fathoms of bother and distress. If you live ninety years you will be a battered survivor. Your own mistakes, accidents, failures at otherness beat you down. Rise up at dawn and read something that matters as soon as you can.

To the skeptics, perhaps the events that are to follow were just a coincidence and nothing more than a series of random accidents that led me to where I am today. But to the lovers and poets and dreamers, perhaps you might agree that the story about to unfold is something more. You might even agree that there are times when coincidences are so powerful that they don’t really seem like coincidences anymore. Times when you come across events that seem too strange, or too strong, to be anything other than Fate—a grand design that incorporates everything from the career paths we take, the friends we meet along the way, and the partners we choose to spend our lives with. Times like these make you question that maybe nothing in this world happens by accident. Maybe everything really does happen for a reason, as some prewritten destiny slowly takes shape and shoves you down a path—or in my case, a mountain side.

This book, being about work, is, by its very nature, about violence - to the spirit as well as to the body. It is about ulcers as well as accidents, about shouting matches as well as fistfights, about nervous breakdowns as well as kicking the dog around. It is, above all (or beneath all), about daily humiliations. To survive the day is triumph enough for the walking wounded among the great many of us.

No longer enslaved or made dependent by force of law, the great majority are so by force of poverty; they are still chained to a place, to an occupation, and to conformity with the will of an employer, and debarred, by the accident of birth both from the enjoyments, and from the mental and moral advantages, which others inherit without exertion and independently of desert. That this is an evil equal to almost any of those against which mankind have hitherto struggled, the poor are not wrong in believing. Is it a necessary evil? They are told so by, those who do not feel it---by those who have gained the prizes in the lottery of life. But it was also said that slavery, that despotism, that all the privileges of oligarchy, were necessary.

The Columbia Accident Investigation Board concluded that NASA’s culture “emphasized chain of command, procedure, following the rules, and going by the book. While rules and procedures were essential for coordination, they had an unintended negative effect.” Once again, “allegiance to hierarchy and procedure” had ended in disaster. Again, lower ranking engineers had concerns they could not quantify; they stayed silent because “the requirement for data was stringent and inhibiting.

It is no accident that, of the early Jesuit scholars who were pioneers in making China's culture known in Europe, those who concerned themselves with the Book of Changes were all later declared to be insane or heretic. Indeed, to the Chinese themselves the study of the I Ching is not to be taken lightly. By an unwritten law, only those advanced in years regard themselves as ready to learn from it. Confucius is said to have been seventy years old when he first took up the Book of Changes.

The first time I looked into a microscope at seaweed and pond water micro- organisms, there was something inside me that shifted—like the way people describe falling in love. And if I hadn’t been given the opportunity to cut into a cow’s eyeball at the age of fifteen, maybe I would have never majored in science, or gone on the semester study abroad trip to Colombia with the UC Santa Cruz biology department. So yes, I blamed seaweed and pond water microorganisms, a cow’s eyeball, and my teachers, the real culprits, for starting me down this path. Just like accident investigators put together a timeline, I call this the causation analysis of my love life.

In 1787, then, when Alexander Hamilton asked “whether societies of men are really capable or not of establishing good government from reflection and choice, or whether they are forever destined to depend for their political constitutions on accident and force,” that was the kind of question a scientist asks before beginning an experiment. Time alone would tell. But time has passed. The beginning has come to an end. What, then, is the verdict of history? This book attempts to answer that question

Now, when it was too late, and Life's shops were closed, he regretted not having bought a certain book he had always wanted; never having gone through an earthquake, a fire, a train accident; never having seen Tatsienlu in Tibet, or heard blue magpies chattering in Chinese willows; not having spoken to that errant schoolgirl with shameless eyes, met one day in a lonely glade; not having laughed at the poor little joke of a shy ugly woman, when no one had laughed in the room; having missed trains, allusions, and opportunities; not having handed the penny he had in his pocket to that old street violinist playing to himself tremulously on a certain bleak day in a certain forgotten town.

All of life’s unpleasant experiences – when we make fools of ourselves, act thoughtlessly, or lapse in our observance of some virtue – should be regarded as mere external accidents which can’t affect the substance of our soul. We should see them as toothaches or calluses of life, as things that bother us but remain outside us (even though they’re ours), or that only our organic existence need consider and our vital functions worry about. When we achieve this attitude, which in essence is that of the mystics, we’re protected not only from the world but also from ourselves, for we’ve conquered what is foreign in us, contrary and external to us, and therefore our enemy. Horace said* that the just man will remain undaunted, even if the world crumbles all around him. Although the image is absurd, the point is valid. Even if what we pretend to be (because we coexist with others) crumbles around us, we should remain undaunted – not because we’re just, but because we’re ourselves, and to be ourselves means having nothing to do with external things that crumble, even if they crumble right on top of what for them we are. For superior men, life should, life should be a dream that spurns confrontations.

Books on one shelf, a small collection of old titles. Isak Dinesen, bound in leather. Alice in Wonderland, in an old illustrated edition. The kind of things someone kept to show visitors how smart they were. Accessories to identity. But one book—a copy of Cadillac Desert, old. He reached for it. “Don’t,” she said. “It’s a signed first.” Angel smirked. “ ’Course it is.” Then: “My boss makes all her new hires read that. She likes us to see this mess isn’t an accident. We were headed straight to Hell, and didn’t do anything about it.

The two bond over their mutual lack of family ties: Saul from his disownment, Miriam from the car accident that orphaned her as a college junior. Both want children. Miriam has inherited her parents' idea of procreative legitimacy, wants to compensate for her only-child-dom. She sees in Saul the househusband who will enable her parental ambitions without disabling her autonomy. In Miriam, Saul sees the means to a book-lined study and a lifestyle conducive to mystical advancement. They are both absolutely certain these things equal love.

You make me thirsty, Promethea, my river, you make me eternally thirsty, my water. As if I had spent my life in an old house of dried mud, so dry myself that I could not even thirst, until yesterday. And suddenly yesterday, the dusty floor of my old house burst open and while I was still dozing away my parched existence, drop by drop I heard the music of coolness awaken the thirst under my dry soul. And leaning over the dark shaft of my life, I saw my childhood springs unearthed. Is that always how (by accident) we rediscover Magdalenian riches?

Anyhow, I had found something out about an unknown privation, and I realized how a general love or craving, before it is explicit or before it sees its object, manifests itself as boredom or some other kind of suffering. And what did I think of myself in relation to the great occasions, the more sizable being of these books? Why, I saw them, first of all. So suppose I wasn't created to read a great declaration, or to boss a palatinate, or send off a message to Avignon, and so on, I could see, so there nevertheless was a share for me in all that had happened. How much of a share? Why, I knew there were things that would never, because they could never, come of my reading. But this knowledge was not so different from the remote but ever-present death that sits in the corner of the loving bedroom; though it doesn't budge from the corner, you wouldn't stop your loving. Then neither would I stop my reading. I sat and read. I had no eye, ear, or interest for anything else--that is, for usual, second-order, oatmeal, mere-phenomenal, snarled-shoelace-carfare-laundry-ticket plainness, unspecified dismalness, unknown captivities; the life of despair-harness or the life of organization-habits which is meant to supplant accidents with calm abiding. Well, now, who can really expect the daily facts to go, toil or prisons to go, oatmeal and laundry tickets and the rest, and insist that all moments be raised to the greatest importance, demand that everyone breathe the pointy, star-furnished air at its highest difficulty, abolish all brick, vaultlike rooms, all dreariness, and live like prophets or gods? Why, everybody knows this triumphant life can only be periodic. So there's a schism about it, some saying only this triumphant life is real and others that only the daily facts are. For me there was no debate, and I made speed into the former.

I had started on the marriage and motherhood beat by accident with a post on my personal, read only by friends, blog called ‘Fifty Shades of Men’. I had written it after buying Fifty Shades of Grey to spice up what Dave and I half-jokingly called our grown up time, and had written a meditation on how the sex wasn’t the sexiest part of the book. “Dear publishers, I will tell you why every woman with a ring on her finger and a car seat in her SUV is devouring this book like the candy she won’t let herself eat.” I had written. “It’s not the fantasy of an impossibly handsome guy who can give you an orgasm just by stroking your nipples. It is instead the fantasy of a guy who can give you everything. Hapless, clueless, barely able to remain upright without assistance, Ana Steele is that unlikeliest of creatures, a college student who doesn’t have an email address, a computer, or a clue. Turns out she doesn’t need any of those things. Here is the dominant Christian Grey and he’ll give her that computer plus an iPad, a beamer, a job, and an identity, sexual and otherwise. No more worrying about what to wear. Christian buys her clothes. No more stress about how to be in the bedroom. Christian makes those decisions. For women who do too much—which includes, dear publishers, pretty much all the women who have enough disposable income to buy your books—this is the ultimate fantasy: not a man who will make you come, but a man who will make agency unnecessary, a man who will choose your adventure for you.

She wanted to read things -- could not resist wanting to read things -- and reading was easily done, and relatively inexpensive. On the other hand, that she should receive any praise for such reflexive habits baffled the girl, for she knew herself to be fantastically stupid about many things. Wasn't it possible that what others mistook as intelligence might in fact be only a sort of mutation of the will? She could sit in one place longer than other children be bored for hours without complaint, and was completely devoted to filling in every last corner of the coloring books Augustus Blake sometimes brought home. She could not help her mutated will -- no more than she could help the shape of her feet or the street on which she was born. She was unable to glean real satisfaction from accidents. In the child's mind a breach now appeared: between what she believed she knew of herself, essentially, and her essence as others seemed to understand it. She began to exist for other people, and if ever asked a question to which she did not know the answer she was wont to fold her arms across her body and look upward. As if the question itself were to obvious to truly concern her.

We continued dancing as a swift gale wheeled through the hills of Santa Cruz. Xuan leaned down to whisper into my ear, his lips lightly brushing the helix. “Once upon a time there was a boy, and he loved a girl very much. He was sad because he didn’t think the girl noticed him. Until one day the uni- verse intervened and a beautiful comet brought them together after a tragic accident occurred that day. The boy and the girl found comfort and friendship in each other that night. And something new and extraordinary began to blossom under the heavens, something that would burn with such bright- ness that all the stars would be in awe. And the boy fell madly in love with the girl and promised to always find her, in this life and the next.” “That’s my favorite story.” Xuan smiled. “It’s the best one I’ve ever told, Ms. Steel.

People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!

Take the word saved as it is used in the evangelical vernacular. It’s true, you are saved by grace, by love, by light … but it’s only half the story. The truth is that there is so much that you’re not saved from. You are not saved from pain or loneliness or the bite of reality sharp against your skin. You’re not saved from rained-out picnics, from disappointment, from the unkindness of strangers. You’re not saved from lost jobs or lost loves or cancer or car accidents. Saved. But they say, It’s not religion, it’s a relationship. They say, God loves the sinner but hates the sin. They say, Let go and let God. And they’re worse than cliché, really. They’re thought-terminating cliché, a term that psychologist, Robert Lifton, coined in his book Thought Reform and the Psychology of Totalism. In this type of cliché, “the most far-reaching and complex of human problems are compressed into brief, highly reductive, definitive-sounding phrases, easily memorized and easily expressed.

She means," Nate said, turning away from the books, "That David has gone full weird." "He was always that way<' Janelle said in a low voice. "Yeah, but now he's completed his journey. Our little caterpillar has turned into a freaky butterfly." "Tell her about the screaming," Janelle said. "Because I can't." "The screaming? Stevie repeated. "The other morning he started something called 'screaming meditation'," Nate said. "Guess what happens in screaming meditation? Did you guess screaming? For fifteen minutes? Because that's what happens in screaming meditation. Fifteen. Minutes. Outside. At five in the morning. Do you know what happens when someone screams outside for fifteen minutes at five in the morning at a remote location in the mountains, especially after a . . ." The implied dot dot dot was "student dies in a terrible accident or maybe murder and another one goes missing." "When security got to him he claimed it was his new religion and that it is something he needs to do every morning now as a way to talk to the sun." So this is what Edward King had been referring to. "Sometimes," Nate went on, tapping the books into place so that the spines lined up perfectly, "he sleeps on the roof. Or somewhere else. Sometimes the green." "Naked," Janelle added. "He sleeps on the green naked." "Or in classrooms," Nate said. "Someone said they went into differential equations and he was asleep in the corner of the room under a Pokémon comforter." "Your boy has not been well," Janelle said.

What a skeletal wreck of man this is. Translucent flesh and feeble bones, the kind of temple where the whores and villains try to tempt the holistic domes. Running rampid with free thought to free form, and the free and clear. When the matters at hand are shelled out like lint at a laundry mat to sift and focus on the bigger, better, now. We all have a little sin that needs venting, virtues for the rending and laws and systems and stems are ripped from the branches of office, do you know where your post entails? Do you serve a purpose, or purposely serve? When in doubt inside your atavistic allure, the value of a summer spent, and a winter earned. For the rest of us, there is always Sunday. The day of the week the reeks of rest, but all we do is catch our breath, so we can wade naked in the bloody pool, and place our hand on the big, black book. To watch the knives zigzag between our aching fingers. A vacation is a countdown, T minus your life and counting, time to drag your tongue across the sugar cube, and hope you get a taste. WHAT THE FUCK IS ALL THIS FOR? WHAT THE HELL’S GOING ON? SHUT UP! I can go on and on but lets move on, shall we? Say, your me, and I’m you, and they all watch the things we do, and like a smack of spite they threw me down the stairs, haven’t felt like this in years. The great magnet of malicious magnanimous refuse, let me go, and punch me into the dead spout again. That’s where you go when there’s no one else around, it’s just you, and there was never anyone to begin with, now was there? Sanctimonious pretentious dastardly bastards with their thumb on the pulse, and a finger on the trigger. CLASSIFIED MY ASS! THAT’S A FUCKING SECRET, AND YOU KNOW IT! Government is another way to say better…than…you. It’s like ice but no pick, a murder charge that won’t stick, it’s like a whole other world where you can smell the food, but you can’t touch the silverware. Huh, what luck. Fascism you can vote for. Humph, isn’t that sweet? And we’re all gonna die some day, because that’s the American way, and I’ve drunk too much, and said too little, when your gaffer taped in the middle, say a prayer, say a face, get your self together and see what’s happening. SHUT UP! FUCK YOU! FUCK YOU! I’m sorry, I could go on and on but their times to move on so, remember: you’re a wreck, an accident. Forget the freak, your just nature. Keep the gun oiled, and the temple cleaned shit snort, and blaspheme, let the heads cool, and the engine run. Because in the end, everything we do, is just everything we’ve done.

one crucial fact must be kept in mind: none of the roughly seventy thousand nuclear weapons built by the United States since 1945 has ever detonated inadvertently or without proper authorization. The technological and administrative controls on those weapons have worked, however imperfectly at times—and countless people, military and civilian, deserve credit for that remarkable achievement. Had a single weapon been stolen or detonated, America’s command-and-control system would still have attained a success rate of 99.99857 percent. But nuclear weapons are the most dangerous technology ever invented. Anything less than 100 percent control of them, anything less than perfect safety and security, would be unacceptable. And if this book has any message to preach, it is that human beings are imperfect.

What is it, fundamentally, that allows us to recognize who has turned out well? That a well-turned out person pleases our senses, that he is carved from wood that is hard, delicate, and at the same time smells good. He has a taste only for what is good for him; his pleasure, his delight cease where the measure of what is good for him is transgressed. He guesses what remedies avail against what is harmful; he exploits bad accidents to his advantage; what does not kill him makes him stronger. Instinctively, he collects from everything he sees, hears, lives through, his sum: he is a principle of selection, he discards much. He is always in his own company, whether he associates with books, human beings, or landscapes: he honors by choosing, by admitting, by trusting. He reacts slowly to all kinds of stimuli, with that slowness which long caution and deliberate pride have bred in him: he examines the stimulus that approaches him, he is far from meeting it halfway. He believes neither in 'misfortune' nor in 'guilt': he comes to terms with himself, with others: he knows how to forget — he is strong enough; hence everything must turn out for his best.

There seemed no answer. He wasn't resigned to anything, he hadn't accepted or adjusted to the life he'd been forced into. Yet here he was, eight months after the plague's last victim, nine since he's spoken to another human being, ten since Virginia had died. Here he was with no future and a virtually hopeless present. Still plodding on. Instinct? Or was he just stupid? Too unimaginative to destroy himself? Why hadn't he done it in the beginning when he was in the very depths? What had impelled him to enclose the house, install a freezer, a generator, an electric stove, a water tank, build a hothouse, a workbench, burn down the houses on each side of his, collect records and books and mountains of canned supplies, even - it was fantastic when you thought about it - even put a fancy mural on the wall? Was the life force something more than words, a tangible, mind-controlling potency? Was nature somehow, in him, maintaining its spark against its own encroachments? He closed his eyes. Why think, why reason? There was no answer. His continuance was an accident and an attendant bovinity. He was just too dumb to end it all, and that was about the size of it.

Gertrude Stein, when asked why she wrote, replied "For praise." Lorca said he wrote to be loved. Faulkner said a writer wrote for glory. I may at times have written for those reasons, it's hard to know. Overall I write because I see the world in a certain way that no dialogue or series of them can begin to describe, that no book can fully render, though the greatest books thrill in their attempt. A great book may be an accident, but a good one is a possibility, and it is thinking of that that one writes. In short, to achieve. The rest takes care of itself, and so much praise is given to insignificant things that there is hardly any sense in striving for it. In the end, writing is like a prison, an island from which you will never be released but which is a kind of paradise: the solitude, the thoughts, the incredible joy of putting into words the essence of what you for the moment understand and with your whole heart want to believe.

Make for yourself a world you can believe in. It sounds simple, I know. But it’s not. Listen, there are a million worlds you could make for yourself. Everyone you know has a completely different one—the woman in 5G, that cab driver over there, you. Sure, there are overlaps, but only in the details. Some people make their worlds around what they think reality is like. They convince themselves that they had nothing to do with their worlds’ creations or continuations. Some make their worlds without knowing it. Their universes are just sesame seeds and three-day weekends and dial tones and skinned knees and physics and driftwood and emerald earrings and books dropped in bathtubs and holes in guitars and plastic and empathy and hardwood and heavy water and high black stockings and the history of the Vikings and brass and obsolescence and burnt hair and collapsed souffles and the impossibility of not falling in love in an art museum with the person standing next to you looking at the same painting and all the other things that just happen and are. But you want to make for yourself a world that is deliberately and meticulously personalized. A theater for your life, if I could put it like that. Don’t live an accident. Don’t call a knife a knife. Live a life that has never been lived before, in which everything you experience is yours and only yours. Make accidents on purpose. Call a knife a name by which only you will recognize it. Now I’m not a very smart man, but I’m not a dumb one, either. So listen: If you can manage what I’ve told you, as I was never able to, you will give your life meaning.

This inclination is a reflection of a person’s uniqueness. This uniqueness is not something merely poetic or philosophical—it is a scientific fact that genetically, every one of us is unique; our exact genetic makeup has never happened before and will never be repeated. This uniqueness is revealed to us through the preferences we innately feel for particular activities or subjects of study. Such inclinations can be toward music or mathematics, certain sports or games, solving puzzle-like problems, tinkering and building, or playing with words. With those who stand out by their later mastery, they experience this inclination more deeply and clearly than others. They experience it as an inner calling. It tends to dominate their thoughts and dreams. They find their way, by accident or sheer effort, to a career path in which this inclination can flourish. This intense connection and desire allows them to withstand the pain of the process—the self-doubts, the tedious hours of practice and study, the inevitable setbacks, the endless barbs from the envious. They develop a resiliency and confidence that others lack.

I never got to take you to the prom. You went with Henry Featherstone. And you wore a peach-colored dress.” “How could you possibly know that?” Callie asked. “Because I saw you walk in with him.” “You didn’t know I was alive in high school,” Callie scoffed. “You had algebra first period, across the hall from my trig class. You ate a sack lunch with the same three girls every day, Lou Ann, Becky and Robbie Sue. You spent your free period in the library reading Hemingway and Steinbeck. And you went straight home after school without doing any extracurricular activities, except on Thursdays. For some reason, on Thursdays you showed up at football practice. Why was that, Callie?” Callie was confused. How could Trace possibly know so much about her activities in high school? They hadn’t even met until she showed up at the University of Texas campus. “I don’t understand,” she said. “You haven’t answered my question. Why did you come to football practice on Thursdays?” “Because that was the day I did the grocery shopping, and I didn’t have to be home until later.” “Why were you there, Calllie?” Callie stared into his eyes, afraid to admit the truth. But what difference could it possibly make now? She swallowed hard and said, “I was there to see you.” He gave a sigh of satisfaction. “I hoped that was it. But I never knew for sure.” Callie’s brow furrowed. “You wanted me to notice you?” “I noticed you. Couldn’t you feel my eyes on you? Didn’t you ever sense the force of my boyish lust? I had it bad for you my senior year. I couldn’t walk past you in the hall without needing to hold my books in my lap when I saw down in the next class.” “You’re kidding, right?” Trace chuckled. “I wish I were.” “Then it wasn’t an accident, our meeting like that at UT?” “That’s the miracle of it,” Trace said. “It was entirely by accident. Fate. Kisma. Karma. Whatever you want to call it.

My job is never boring," Staples said. "There's nuts-and-bolts stuff like getting the tarpaulin over the shaft when it rains, and so in. Cataloging and reshelving. The shelves are in a shocking state. And when you've got everything ever written or lost to keep track of, it's quite a job. And there's fetching books. "I used to really look forward to requests for books way down in the abyss. We'd all rope up, follow our lines down for miles. The order falls apart a way down but you learn to sniff out class-marks. Sometimes we'd be gone for weeks, fetching volumes.' She spoke with a faraway voice. "There are risks. Hunters, animals, and accidents. Ropes that snap. Sometimes someone gets separated. Twenty years ago, I was in a group looking for a book someone had requested. I remember, it was called 'Oh, All Right Then': Bartleby Returns. We were led by Ptolemy Yes. He was the man taught me. Best librarian there's ever been, some say. "Anyway, after weeks of searching, we ran out of food and had to turn back. No one likes it when we fail, so none of us were feeling great. "We felt that much worse when we realized that we'd lost Ptolemy. "Some people say he went off deliberately. That he couldn't bear not to find the book. That he's out there still in the Wordhoard Abyss, living off shelf-monkeys, looking. And that he'll be back one day, book in his hand.

To understand hardware and software (as applied to the human brain) perform the following meditation. Sit in a room where you will not be disturbed for a half hour and begin thinking, “I am sitting in this room doing this exercize because . . .“ and list as many of the “causes” as you can think of. For instance, you are doing this exercize because, obviously, you read about it in this book. Why did you buy this book? Did somebody recommend it? How did that person come into your life? If you just picked the book up in a store, why did you happen to be in just that store on just that day? Why do you read books of this sort — on psychology, consciousness, evolution etc.? How did you get interested in those fields? Who turned you on, and how long ago? What factors in your childhood inclined you to be interested in these subjects later? Why are you doing this exercize in this room and not elsewhere? Why did you buy or rent this house or apartment? Why are you in this city and not another? Why on this continent and not another? Why are you here at all — that is, how did your parents meet? Did they consciously decide to have a child, do you happen to know, or were you an accident? What cities were they born in? If in different cities, why did they move in space-time so that their paths would intersect? Why is this planet capable of supporting life, and why did it produce the kind of life that would dream up an exercize of this sort? Repeat this exercize a few days later, trying to ask and answer fifty questions you didn’t think of the first time. (Note that you cannot ever ask all possible questions.) Avoid all metaphysical speculations (e.g., karma, reincarnation, “destiny” etc.). The point of the exercize will be mind-blowing enough without introducing “occult” theories, and it will be more startling if you carefully avoid such overtly “mystical” speculations.

Have you ever witnessed the anger of the good shopkeeper, James Goodfellow, when his careless son has happened to break a pane of glass? If you have been present at such a scene, you will most assuredly bear witness to the fact that every one of the spectators, were there even thirty of them, by common consent apparently, offered the unfortunate owner this invariable consolation – "It is an ill wind that blows nobody good. Everybody must live, and what would become of the glaziers if panes of glass were never broken?" Now, this form of condolence contains an entire theory, which it will be well to show up in this simple case, seeing that it is precisely the same as that which, unhappily, regulates the greater part of our economical institutions. Suppose it cost six francs to repair the damage, and you say that the accident brings six francs to the glazier's trade – that it encourages that trade to the amount of six francs – I grant it; I have not a word to say against it; you reason justly. The glazier comes, performs his task, receives his six francs, rubs his hands, and, in his heart, blesses the careless child. All this is that which is seen. But if, on the other hand, you come to the conclusion, as is too often the case, that it is a good thing to break windows, that it causes money to circulate, and that the encouragement of industry in general will be the result of it, you will oblige me to call out, "Stop there! Your theory is confined to that which is seen; it takes no account of that which is not seen." It is not seen that as our shopkeeper has spent six francs upon one thing, he cannot spend them upon another. It is not seen that if he had not had a window to replace, he would, perhaps, have replaced his old shoes, or added another book to his library. In short, he would have employed his six francs in some way, which this accident has prevented.

But here through the dusk comes one who is not glad to be at rest. He is a workman on the ranch, an old man, an immigrant Italian. He takes his hat off to me in all servility, because, forsooth, I am to him a lord of life. I am food to him, and shelter, and existence. He has toiled like a beast all his days, and lived less comfortably than my horses in their deep-strawed stalls. He is labour-crippled. He shambles as he walks. One shoulder is twisted higher than the other. His hands are gnarled claws, repulsive, horrible. As an apparition he is a pretty miserable specimen. His brain is as stupid as his body is ugly. "His brain is so stupid that he does not know he is an apparition," the White Logic chuckles to me. "He is sense-drunk. He is the slave of the dream of life. His brain is filled with superrational sanctions and obsessions. He believes in a transcendent over-world. He has listened to the vagaries of the prophets, who have given to him the sumptuous bubble of Paradise. He feels inarticulate self-affinities, with self-conjured non-realities. He sees penumbral visions of himself titubating fantastically through days and nights of space and stars. Beyond the shadow of any doubt he is convinced that the universe was made for him, and that it is his destiny to live for ever in the immaterial and supersensuous realms he and his kind have builded of the stuff of semblance and deception. "But you, who have opened the books and who share my awful confidence—you know him for what he is, brother to you and the dust, a cosmic joke, a sport of chemistry, a garmented beast that arose out of the ruck of screaming beastliness by virtue and accident of two opposable great toes. He is brother as well to the gorilla and the chimpanzee. He thumps his chest in anger, and roars and quivers with cataleptic ferocity. He knows monstrous, atavistic promptings, and he is composed of all manner of shreds of abysmal and forgotten instincts." "Yet he dreams he is immortal," I argue feebly. "It is vastly wonderful for so stupid a clod to bestride the shoulders of time and ride the eternities." "Pah!" is the retort. "Would you then shut the books and exchange places with this thing that is only an appetite and a desire, a marionette of the belly and the loins?" "To be stupid is to be happy," I contend. "Then your ideal of happiness is a jelly-like organism floating in a tideless, tepid twilight sea, eh?