The Cardboard Room Quotes

It wasn't until we dropped him at his university dormitory and left him there looking touchingly lost and bewildered amid an assortment of cardboard boxes and suitcases in a spartan room not unlike a prison cell that it really hit home that he was vanishing out of our lives and into his own.

Of course, weakness is strong. It’s the primary impulse. You’d probably prefer to sit in your little room and cry. Live in your finite collection of memories, carefully polishing each one. Half a life set behind glass and pinned to cardboard like a collection of exotic insects. You’d like to live behind that glass, wouldn’t you?

Where’s Noah?” I asked with steel in my voice. My eyes searched the room, but there was nothing to find. “Why did you tell me he was dead?” Dr. Kells was reaching into a cardboard box by her feet as I spoke. “Because he is.

I don't know where to go, I stay planted in front of the cardboard chef. I don't need to turn around to know they are watching me through the windows: they are watching my back with surprise and disgust; they thought I was like them, that I was a man, and I deceived them. I suddenly lost the appearance of a man and they saw a crab running backwards out of this human room. Now the unmasked intruder has fled: the show goes on.

in the dark room she sits and in front of her is a plate and on the plate lies a black hunk of bread the size of a deck of cards. The bread has sawdust in it, and cardboard. She takes a knife and a fork, and cuts it slowly into four pieces. She eats one, chews it deliberately, pushes it with difficulty through her dry throat. eats another and another and finally the last one. She lingers especially on the last one. She knows after this piece is gone there will be no more food until tommorow morning. She wishes she could be strong enough to save half of the bread until dinner, but she isn't, she can't. When she looks up from her plate, her sister Dasha, is staring at her. Her plate is long empty. " I wish Alexander was coming back" says Dasha. " He might have food for us" I wish Alexander was coming back, thinks Tatiana.

This is the restless cardboard box I carry from room to room, house to house filled with papers I do not know how to sort. How do you separate trash from trash? Everything looks like something else-something I just might need. Someday right?

I'm...um...I've got guests in my studio. I don't know how they undid my secure barricade made of cardboard signs that said KEEP OUT! and SECRET ROOM! in all caps with an exclamation point, but it's my program director, Lauren, and some man I've never seen bef - but no, I have seen him before.

The supermarket is still open; it won't close till midnight. It is brilliantly bright. Its brightness offers sanctuary from loneliness and the dark. You could spend hours of your life here, in a state of suspended insecurity, meditating on the multiplicity of things to eat. Oh dear, there is so much! So many brands in shiny boxes, all of them promising you good appetite. Every article on the shelves cries out to you, take me, take me; and the mere competition of their appeals can make you imagine yourself wanted, even loved. But beware - when you get back to your empty room, you'll find that the false flattering elf of the advertisement has eluded you; what remains is only cardboard, cellophane and food. And you have lost the heart to be hungry.

One evening, at the time of the Six-Day War, I [Christopher Hitchens] had my wicked way with a lovely lady, who had earlier intimated that she did not perhaps find me entirely repulsive. We procured a decent room, as I remember, at the Cadogan Hotel. Perhaps a little flown with wine, I asked her to don a Martin Amis face mask which I had—with a combination of sticky tape, elastic bands, cardboard, and a much-treasured photograph—prepared earlier. The fair damsel was happy to oblige, and thus attired she permitted me to embark on the hugely agreeable pathway to libidinous fulfillment.

Earlier that day, a typewriter bomb had exploded at a black market skin house over on Eel Street, sending words raining through the cardboard walls of the boudoirs and tattooing copies of the Machinist’s ‘Twelve Terms’ on the bodies of whores and patrons alike. Forty pieces of merch ruined. Their bodies had been obliterated by language, all traces of their sexuality buried beneath a storm of words. There was something horrific about the sight of those who had survived a typewriter attack. Their faces scarred with text, as if they had become hostages to some awful advertisement. A few of the victims took to working the streets around the library where bibliophiles sometimes paid them to satisfy their fantasies amid the desolate hush of the reading rooms and the deserted stacks where the only witnesses to this erotic pantomime of the blank body and its printed partner were other words.

Oh my God, Ash! Look at this huge box!” Ash swore under his breath before chasing after him. Ethan paused to look around. Why was no one recording this? Cael tried to strip while Ash did his best to stop him, but Cael was determined to shift into his Therian form to play in the giant box. Ethan had to admit he was tempted. There was enough room in there for at least two of them in their Therian forms. Maybe. Okay, maybe one of them. It was so big and cardboard-y. He did love a good box…. “Don’t

I watch the figure reach the peak Head in clouds, no room to think He gave the world a blissful wink Took a drink, destroyed the peace We watched the ships explode then sink On cardboard screens, the blood-shed pink. This is the way we choose to run things.

love is like a comic book. it’s fragile and the best we can do is protect it in whatever clumsy ways we can: plastic and cardboard, dark rooms and boxes. in this way, something never meant to last might find its way to another decade, another home, an attic, a basement, intact. love is paper.

So, when I read of a recent study that found that children are significantly more inclined to eat “difficult” foods like liver, spinach, broccoli—and other such hard-to-sell “but-it’s-good-for-you” classics—when they are wrapped in comfortingly bright packages from McDonald’s, I was at first appalled, and then … inspired. Rather than trying to co-opt Ronald’s all-too-effective credibility among children to short-term positive ends, like getting my daughter to eat the occasional serving of spinach, I could reverse-engineer this! Use the strange and terrible powers of the Golden Arches for good—not evil! I plan to dip something decidedly unpleasant in an enticing chocolate coating and then wrap it carefully in McDonald’s wrapping paper. Nothing dangerous, mind you, but something that a two-and-a-half-year-old will find “yucky!”—even upsetting—in the extreme. Maybe a sponge soaked with vinegar. A tuft of hair. A Barbie head. I will then place it inside the familiar cardboard box and leave it—as if forgotten—somewhere for my daughter to find. I might even warn her, “If you see any of that nasty McDonald’s … make sure you don’t eat it!” I’ll say, before leaving her to it. “Daddy was stupid and got some chocolate … and now he’s lost it…” I might mutter audibly to myself before taking a long stroll to the laundry room. An early, traumatic, Ronald-related experience can only be good for her.

The sprinklers whirled at dusk on every lawn and the television droned in every living room. A woman's only son came home insane, confronting her with God only knew what agonies of grief and guilt, and still she busied herself with the doings of the zoning board, with little chirrups of neighborly good cheer and cardboard boxes full of garden plants.

Therapies administered included but were not limited to: turning things off, then on again; picking them up a couple of inches and then dropping them; turning off nonessential appliances in this and other rooms; removing lids and wiggling circuit boards; extracting small contaminants, such as insects and their egg cases, with nonconducting chopsticks; cable-wiggling; incense-burning; putting folded-up pieces of paper beneath table legs; drinking tea and sulking; invoking unseen powers; sending runners to other rooms, buildings, or precincts with exquisitely calligraphed notes and waiting for them to come back carrying spare parts in dusty, yellowed cardboard boxes; and a similarly diverse suite of troubleshooting techniques in the realm of software.

Kenneth was a sitting duck. In fewer than three years he would kneel alone in this very room, on the exact spot where he now stood, emptying the contents of his desk into cardboard boxes from the liquor store while his gaunt bitter wife reviled him in the Goldbergs' living room and choked the Goldbergs' big brass ashtray with with unfiltered cigarette butts, and if anyone were then to ask him for the secret of a happy life, he would answer: Stasis.

Yes, there are spiders in the basement, and yes, the floors are so uneven you can feel them pushing your right leg up against your torso if you run too quickly from room to room, and yes she's never unpacked and is using tall cardboard boxes filled with bric-a-brac as furniture, and yes the couch is so old you can feel the springs in your back, and yes she wants to grow pot in the basement, and yes every room has bad memories, but sure, the two of you could raise children here.

But they were citizens of a shadow country that in his previous life he’d only dimly perceived, a country located at the edge of an abyss. He’d been aware of the shadowland forever, of course. He’d seen its more obvious outposts: shelters fashioned from cardboard under overpasses, tents glimpsed in the bushes alongside expressways, houses with boarded-up doors but a light shining in an upstairs window. He’d always been vaguely aware of its citizens, people who’d slipped beneath the surface of society, into a territory without comfort or room for error;

He could afford to do things right this time around, and he didn’t intend to settle for anything less. Colby knew he wasn’t doing it for the baby, who wouldn’t know the difference between a shiny new crib and a cardboard box. He was doing it for Diana. He wanted her to take pleasure in everything that had to do with the baby. She was a woman who appreciated nice things, and he was determined that she would be surrounded by them while she cared for their child. Colby finished adjusting the position of the crib and took one last look around the room. All was in order. This time he was ready. And so was Diana, he had decided

BEFORE THE TREE HOUSE WAS A RECORDING STUDIO FOR PODCASTS, IT WAS:* A grotto for mermaids and mermen. Piles of seashells. Buckets of sand from our old sand table. Fabric in shades of blue hanging everywhere. A fairy house. Shimmer fabric in shades of pink, yellow, and green. Tissue-paper flowers. Cutout butterflies with huge googly eyes. The boxcar from the Boxcar Children books. Spoons, tin plates, a knapsack, crackers, and plain cookies. Red-and-white-checked fabric for the windows. A keep. Cardboard swords wrapped in foil. Many, many of them. The Gryffindor common room. Red and gold, with wands made out of repurposed foil swords.

There were noises coming from the spare bedroom. It sounded like ripping cardboard. There was low muttering. Maddy walked forwards quietly, hearing every footstep against the carpet. She stopped in the doorway and looked into the room. There was a pale, gaunt man sitting cross-legged on the floor, rifling through the boxes. His clothes and skin were wet and dripping. There was sand everywhere. His skin looked waxy, almost blue in places, and she knew immediately that he was a ghost by the strange restlessness he'd brought with him into the room, a restlessness and a clamouring, as if he had just disturbed a colony of nesting seabirds.

And I’m not sure why I wasted all that time and energy, because when I think about family—that thing I’d always longed for—it’s never been a Norman Rockwell painting that I picture. It’s me and Mom, on the couch, eating microwaved corn dogs while Dial M for Murder plays on TV. It’s running out from the library at night to her car, a greasy box of Little Caesars pizza in the passenger seat, her joking, I thought we’d do Italian. It’s being pulled away from watching the frost melt on the living room window to make stovetop hot cocoa from a packet, and that last tight hug at the end of the airport security line, and packing up cardboard boxes, knowing I’ll always have what I need, no matter how much I leave behind.

His unfinished book had become his obsession. He rarely left his room, which he insulated with sheaves of paper scribbled with beginnings and endings, nailing ideas to the walls and stretching long strips of sentences from the window to the door. Tall stacks of scenes and chapters sprouted from the floor, as if the papers had reincarnated themselves back into trees. The paper forest around him glimmered in the sun from the windows, weaving rays of light in yellow and purple and blue. Hunger squeezed his throat, but he turned his ravenousness toward writing. He almost never slept. During the shortages, he wrote between the columns of old newspapers, or on pieces of cardboard, or on bark pulled from trees. He traded potatoes for ink.

Faint traces of other black churches are tucked away in handwritten ledgers at the state archives at Morrow; in the collections at the University of Georgia in Athens; even in the basement of the Forsyth courthouse, where a cardboard box atop a metal filing cabinet still holds deeds for the land on which black residents once founded Mt. Fair, Shakerag, and Stoney Point - about which nothing is known but names and approximate locations. All that can be said for certain is that, again and again in the fall of 1912, white men sloshed gasoline and kerosene onto the benches and wooden floors of such rooms, then backed out into the dark, tossing lit matches as they went. All over the county, beneath the ground on which black churches stood, the soil is rich with ashes.

The compact disc manufacturing process started with a digital master tape, transported from the studio under heavy security. This tape was cloned in a clean room using a glass production mold, then locked away in a secure room. Next, the replication process began, as virgin discs were stamped with the production mold into bit-perfect copies. After replication, the discs were lacquered and sent to packaging, where they were “married” to the jewel cases, then combined with liner notes, inlays, booklets, and any other promotional materials. Certain discs contained explicit lyrics, and required a “Parental Advisory” warning sticker, and this was often applied by hand. Once finished, the packaged discs were fed into a shrink-wrapper, stacked into a cardboard box, and taken to inventory to await distribution to the music-purchasing public.

He handed me something done up in paper. 'Your mask,' he said. 'Don't put it on until we get past the city-limits.' It was a frightening-looking thing when I did so. It was not a mask but a hood for the entire head, canvas and cardboard, chalk-white to simulate a skull, with deep black hollows for the eyes and grinning teeth for the mouth. The private highway, as we neared the house, was lined on both sides with parked cars. I counted fifteen of them as we bashed by; and there must have been as many more ahead, in the other direction. We drew up and he and I got out. I glanced in cautiously over my shoulder at the driver as we went by, to see if I could see his face, but he too had donned one of the death-masks. 'Never do that,' the Messenger warned me in a low voice. 'Never try to penetrate any other member's disguise.' The house was as silent and lifeless as the last time - on the outside. Within it was a horrid, crawling charnel-house alive with skull-headed figures, their bodies encased in business-suits, tuxedos, and evening dresses. The lights were all dyed a ghastly green or ghostly blue, by means of colored tissue-paper sheathed around them. A group of masked musicians kept playing the Funeral March over and over, with brief pauses in between. A coffin stood in the center of the main living-room. I was drenched with sweat under my own mask and sick almost to death, even this early in the game. At last the Book-keeper, unmasked, appeared in their midst. Behind him came the Messenger. The dead-head guests all applauded enthusiastically and gathered around them in a ring. Those in other rooms came in. The musicians stopped the Death Match. The Book-keeper bowed, smiled graciously. 'Good evening, fellow corpses,' was his chill greeting. 'We are gathered together to witness the induction of our newest member.' There was an electric tension. 'Brother Bud!' His voice rang out like a clarion in the silence. 'Step forward.' ("Graves For Living")

Apple Core   Outside the morning is cold. He sits at his desk, his fingers motionless on the keyboard. A blanket covers his shoulders and a coffee mug half full of soy milk and Folgers loiters to his right. The surrounding room is strewn with papers, some failed attempts, some nothing at all. Unsealed envelopes and empty packs of cigarettes, unfinished books and drained beer bottles, a dictionary and a worn notebook mixed in with laundry, plastic bags, and cardboard boxes. He sits and stares at his   computer screen, no more than a title punched out along the top of the page. Thoughts swirl around him and the clock face blinks overhead. His speakers lie silent, his printer still. A burned out candle sits next to unopened whiskey. Notes taped to every surface are lorded over by an Easter card signed with familiar names. They speak to the urgency of the world around him. His breakfast is left unfinished, except for the apple, whose core he has wrapped in a napkin and tossed on top of his overflowing wastebasket.

I open the door to see him on my doorstep and he doesn’t even say hello. He says, “Let’s cut the crap, Daisy. You need to record this album or Runner’s taking you to court.” I said, “I don’t care about any of that. They can take their money back, get me kicked out of here if they want. I’ll live in a cardboard box.” I was very annoying. I had no idea what it meant to truly suffer. Teddy said, “Just get in the studio, love. How hard is that?” I told him, “I want to write my own stuff.” I think I even crossed my arms in front of my chest like a child. He said, “I’ve read your stuff. Some of it’s really good. But you don’t have a single song that’s finished. You don’t have anything ready to be recorded.” He said I should fulfill my contract with Runner and he would help me get my songs to a point where I could release an album of my own stuff. He called it “a goal for us all to work toward.” I said, “I want to release my own stuff now.” And that’s when he got testy with me. He said, “Do you want to be a professional groupie? Is that what you want? Because the way it looks from here is that you have a chance to do something of your own. And you’d rather just end up pregnant by Bowie.” Let me take this opportunity to be clear about one thing: I never slept with David Bowie. At least, I’m pretty sure I didn’t. I said, “I am an artist. So you either let me record the album I want or I’m not showing up. Ever.” Teddy said, “Daisy, someone who insists on the perfect conditions to make art isn’t an artist. They’re an asshole.” I shut the door in his face. And sometime later that day, I opened up my songbook and I started reading. I hated to admit it but I could see what he was saying. I had good lines but I didn’t have anything polished from beginning to end. The way I was working then, I’d have a loose melody in my head and I’d come up with lyrics to it and then I’d move on. I didn’t work on my songs after one or two rounds. I was sitting in the living room of my cottage, looking out the window, my songbook in my lap, realizing that if I didn’t start trying—I mean being willing to squeeze out my own blood, sweat, and tears for what I wanted—I’d never be anything, never matter much to anybody. I called Teddy a few days later, I said, “I’ll record your album. I’ll do it.” And he said, “It’s your album.” And I realized he was right. The album didn’t have to be exactly my way for it to still be mine.

tuff. Almost all of us have it in abundance. What can we do with it? One of my favorite hideaways is an old faithful: the cardboard box. Cover it with festive Contact paper and stuff away. Or hang a shelf about a foot from the ceiling, and use it to store items you don't want sitting around. It's also great in a child's room for toys that aren't played with often. Get old school lockers or trunks, paint them, and use them for storage. Clutter around your house can cause clutter in your emotional and spiritual life too, so clean up and spend your best time enjoying life. re you reluctant to share your home with others? Maybe it's not your dream house or you don't have the money right now to decorate the way you'd like to. But you know what? It's not about having a perfect home. It's about your spirit of hospitality, your willingness to share your home and your life with others. Don't wait until everything is perfect because that will never happen. Focus on making your home cozy and comfortable. Your place will always be at its most beautiful when you use it to warm hearts. aking time for your husband doesn't have to be difficult or a hassle. With a little imagination and the desire to make him happy, you can make him feel loved. Are you thinking, Oh great, now Emilie 's telling me what I'm doing wrong with my husband. Not at all! I just want to give you a few ideas to help you let your

5. Move toward resistance and pain A. Bill Bradley (b. 1943) fell in love with the sport of basketball somewhere around the age of ten. He had one advantage over his peers—he was tall for his age. But beyond that, he had no real natural gift for the game. He was slow and gawky, and could not jump very high. None of the aspects of the game came easily to him. He would have to compensate for all of his inadequacies through sheer practice. And so he proceeded to devise one of the most rigorous and efficient training routines in the history of sports. Managing to get his hands on the keys to the high school gym, he created for himself a schedule—three and a half hours of practice after school and on Sundays, eight hours every Saturday, and three hours a day during the summer. Over the years, he would keep rigidly to this schedule. In the gym, he would put ten-pound weights in his shoes to strengthen his legs and give him more spring to his jump. His greatest weaknesses, he decided, were his dribbling and his overall slowness. He would have to work on these and also transform himself into a superior passer to make up for his lack of speed. For this purpose, he devised various exercises. He wore eyeglass frames with pieces of cardboard taped to the bottom, so he could not see the basketball while he practiced dribbling. This would train him to always look around him rather than at the ball—a key skill in passing. He set up chairs on the court to act as opponents. He would dribble around them, back and forth, for hours, until he could glide past them, quickly changing direction. He spent hours at both of these exercises, well past any feelings of boredom or pain. Walking down the main street of his hometown in Missouri, he would keep his eyes focused straight ahead and try to notice the goods in the store windows, on either side, without turning his head. He worked on this endlessly, developing his peripheral vision so he could see more of the court. In his room at home, he practiced pivot moves and fakes well into the night—such skills that would also help him compensate for his lack of speed. Bradley put all of his creative energy into coming up with novel and effective ways of practicing. One time his family traveled to Europe via transatlantic ship. Finally, they thought, he would give his training regimen a break—there was really no place to practice on board. But below deck and running the length of the ship were two corridors, 900 feet long and quite narrow—just enough room for two passengers. This was the perfect location to practice dribbling at top speed while maintaining perfect ball control. To make it even harder, he decided to wear special eyeglasses that narrowed his vision. For hours every day he dribbled up one side and down the other, until the voyage was done. Working this way over the years, Bradley slowly transformed himself into one of the biggest stars in basketball—first as an All-American at Princeton University and then as a professional with the New York Knicks. Fans were in awe of his ability to make the most astounding passes, as if he had eyes on the back and sides of his head—not to mention his dribbling prowess, his incredible arsenal of fakes and pivots, and his complete gracefulness on the court. Little did they know that such apparent ease was the result of so many hours of intense practice over so many years.

Write about an empty birdcage" Write about an empty birdcage. As in: write about your ribcage after robbery. Use negative space to wind a song from the place on the dresser where a music box isn’t. Write about the corners where the two of you used to meet. Draw the intersections, arrow to the sidewalk where her shoes aren’t near yours. Write about an empty birdcage. As in: write about a hinged-open jaw that is neither sigh nor scream. Use this to signify EXIT. Make sure to describe the teeth, the glint of metal deep down in the molars, the smell of breath after lack of water. Make sure to draw this mouth a thirsty and human portrait of what it means to be used up. Write about voice by writing about how it feels when it’s painful to swallow. If you must put noise in the scene make it the sound of bird wings flapping in a cardboard box. Show us an empty cage and give us the sound of confinement. Take hope and fold it small as seed, then suck on it. Slow and selfish. Write about an empty birdcage. Birdcage can read: building, structure, abandoned or adorned. As in: loop and tighten a vine of nostalgia around the room you currently brick yourself into. Recreate the sweet of jasmine, but mortar the door so it will not seep through. Write about an empty birdcage. Replay us the scene. As in: she presses her pale cheek against the window, as he turns his pinstriped back, slow and final. Again. She presses her pale cheek against the window, and he turns his pinstriped back, slow and final. Again. She presses her pale cheek against the window, as he turns his pinstriped back, slow and final. Again. She presses her her pale cheek against the window, as he turns his pinstriped back, slow and final. Write about an empty birdcage. Write about the hinges. Describe them as dry knuckles. Write how I became a moan.

Editing is the most obvious way of manipulating vision. And yet, the camera sometimes sees what you don’t - a person in the background, for example, or an object moving in the wind. I like these accidents. My first full-length film, Esperanza, was about a woman I befriended on the Lower East Side when I was a film student at NYU. Esperanza had hoarded nearly all the portable objects she had touched every day for thirty years: the Chock Full O’Nuts paper coffee cups, copies of the Daily News, magazines, gum wrappers, price tags, receipts, rubber bands, plastic bags from the 99-cent store where she did most of her shopping, piles of clothes, torn towels, and bric-a-brac she had found in the street. Esperanza’s apartment consisted of floor-to-ceiling stacks of stuff. At first sight, the crowded apartment appeared to be pure chaos, but Esperanza explained to me that her piles were not random. Her paper cups had their own corner. These crenellated towers of yellowing, disintegrating waxed cardboard stood next to piles of newspapers … One evening, however, while I was watching the footage from a day’s filming, I found myself scrutinizing a pile of rags beside Esperanza’s mattress. I noticed that there were objects carefully tucked in among the fraying bits of coloured cloth: rows of pencils, stones, matchbooks, business cards. It was this sighting that led to the “explanation.” She was keenly aware that the world at large disapproved of her “lifestyle,” and that there was little room left for her in the apartment, but when I asked her about the objects among the rags, she said that she wanted to “keep them safe and sound.” The rags were beds for the things. “Both the beds and the ones that lay down on them,” she told me, “are nice and comfy.” It turned out that Esperanza felt for each and every thing she saved, as if the tags and town sweaters and dishes and postcards and newspapers and toys and rags were imbued with thoughts and feelings. After she saw the film, my mother said that Esperanza appeared to believe in a form of “panpsychism.” Mother said that this meant that mind is a fundamental feature of the universe and exists in everything, from stones to people. She said Spinoza subscribed to this view, and “it was a perfectly legitimate philosophical position.” Esperanza didn’t know anything about Spinoza … My mother believed and I believe in really looking hard at things because, after a while, what you see isn’t at all what you thought you were seeing just a short time before. looking at any person or object carefully means that it will become increasingly strange, and you will see more and more. I wanted my film about this lonely woman to break down visual and cultural cliches, to be an intimate portrait, not a piece of leering voyeurism about woman’s horrible accumulations.

If it was her diary, it would be wrong to open it. More wrong than leaving her dead in the hallway for the better part of a day? I shrugged my shoulders as I opened the black cardboard cover. It was all relative. It wasn’t a diary—not really. Carefully pasted onto the pages of notebook paper were magazine pictures of different houses. There was a picture of a wide, green lawn with a house perched way off in the distance and a family having a picnic on a postage-stamp-sized blanket. There were dining rooms with long tables where people could linger after a meal and talk about politics or sports. A bedroom with a white canopy bed big enough for a mom and kids to curl up on a Sunday morning and read the newspaper. Every now and then on the page would be something written very carefully in her sprawling handwriting.

Amateur musical performances were extremely important for all of us during the war, and my experience of them started at the age of ten or eleven, when my friends and I took part in a custom that was very popular back then but now seems to have died out altogether. It was carried out at Halloween, but instead of going round asking for trick or treats we did something called ‘Guising’. A group of us lads would go to the front door of a house we thought might be welcoming and politely ask if we could come in and perform. Our particular playlet was suggested by my father; it was one he had performed when he was a lad, although whether there was any deeper tradition behind the verses we recited I cannot say. We were all dressed up in costumes, with one boy dressed as a king with a cardboard crown on his head. Once all were in the house most of us would cluster behind the sitting-room door, then the first boy would enter the room on his own and say, ‘Red up sticks and red up stools here comes in a pack of fools, a pack of fools behind that door. Step in King George and clear the floor.’ The boy with the crown on his head would enter and recite, ‘King George is my name, sword and pistol by my side, I hope to win the game.’ The first boy would answer, ‘The game, sir, the game, sir, is not within your power. I will slash you and slay you within half an hour.’ These two boys would then have a duel with toy swords and the first boy would drop down as though dead, at which the king would kneel down and say, ‘Is there a doctor in the town?’ A small boy with a little attaché case would then pop out from behind the door saying, ‘My name is Doctor Brown, the best little doctor in the town. A little to his nose and a little to his bum, now rise up, jock, and sing a song.’ It was an absurd little sketch, but we used to get showered with pieces of cake and home-made toffees and fudge, and we would pass from house to house performing the same sketch. Even now I can recall the words perfectly.

So,” holding his arms outstretched, like Kubla Khan welcoming Marco Polo to Xanadu, “what do you think?” “Nice,” I croaked. “Very nice.” “Home sweet home,” he said fondly, and slurped his tea. “Although . . . ,” I began. “Yeah?” “Well, I have to say,” I said, in a careless, jokey sort of way to show there were no hard feelings, “I don’t think much of your doorman.” “Doorman?” Frank repeated. “Yes, the doorman,” I said, trying to maintain my smile. “You know, he was really quite slovenly.” “That wasn’t a doorman, Charlie, he’s homeless.” “Homeless?” “Yeah, he lives in that cardboard box on the steps.” “Oh,” I said in a small voice. “I wondered why he wasn’t wearing a cap.” There was a pause. “Doorman,” Frank chuckled to himself. Light struggled in through the ungenerous window, weak gray light that was more like the residue of light. I looked down thoughtfully into my tea, which had bits in it. After a time I said judiciously, “I imagine that’s why it’s taking him so long to bring up my cases.” Frank put his cup down, wincing. “Ah, Charlie . . .” “You don’t suppose,” I ventured, “he might have forgotten which room—” But Frank had already leapt from his seat and was hurtling back down the stairs. I got up and hurried after him, catching up outside the front door, where he stood studying the cardboard box and blanket until a short while ago occupied by the homeless person–doorman. “Fuck,” he said, stroking his chin.

BLUEBERRY CRUNCH COOKIES Preheat oven to 350 degrees F., rack in the middle position.   1 cup melted butter (2 sticks, 1/2 pound) 2 cups white (granulated) sugar 2 teaspoons vanilla 1/2 teaspoon salt 1½ teaspoons baking soda 2 large eggs, beaten (just whip them up with a fork) 2½ cups flour (no need to sift—pack it down when you measure it) 1 cup dried sweetened blueberries (other dried fruit will also work if you cut it in blueberry-sized pieces) 2 cups GROUND dry oatmeal (measure before grinding)   Hannah’s 1st Note: Mixing this dough is much easier with an electric mixer, but you can also do it by hand.   Melt the butter in a large microwave-safe bowl for 1 minute on HIGH. Add the white sugar and mix it in thoroughly.   Add the vanilla, salt, and the baking soda. Mix it in well.   When the mixture has cooled to room temperature, stir in the beaten eggs. When they are fully incorporated, add 197 the flour in half-cup increments, stirring after each addition.   Mix in the dried blueberries.   Prepare your oatmeal. (Use Quaker if you have it—the cardboard canister is useful for all sorts of things.) Measure out two cups and place them in the bowl of a food processor or a blender, chopping with the steel blade until the oatmeal is the consistency of coarse sand. (Just in case you’re wondering, the ground oatmeal is the ingredient that makes the cookies crunchy.)   Add the ground oatmeal to your bowl, and mix it in thoroughly. The resulting cookie dough will be quite stiff.   Roll walnut-sized dough balls with your hands, and place them on a greased cookie sheet, 12 balls to a standard-size sheet. (If the dough is too sticky to roll, place the bowl in the refrigerator for thirty minutes and try again.) Squish the dough balls down a bit with your impeccably clean palm (or a metal spatula if you’d rather).   Bake at 350 degrees F. for 10 to 12 minutes or until golden brown on top. (Mine took 11 minutes.) Cool on the cookie sheet for 2 minutes, and then remove the cookies to a wire rack to cool completely.   Yield: 6 to 7 dozen unusual and tasty cookies, depending on cookie size.   Hannah’s 2nd Note: These cookies freeze well if you stack them on foil (like rolling coins) and roll them, tucking in the ends. Just place the rolls of cookies in a freezer bag,

She never came back after mid-term break; according to the Automator, ‘unforeseen circumstances’ had forced her to extend her holiday. Every day Howard sees her classes trooping despondently from the Geography Room to the study hall, or carrying votive bundles of cardboard and paper to the recycling bins, their faces anxious, hopeful, like Indians doing a rain dance. He knows how they feel. Since mid-term he’s existed in a constant state of tension, braced against every moment as the one that might finally restore her. Even out of school, even on his own, shopping in the supermarket, sitting at the traffic lights, he finds himself holding his breath. But the days are a series of ghost pregnancies, delivering nothing.

Milton took out his Sig and went inside. The first room used to be a kitchen. Old appliances had been left to rot, with anything that could be easily removed long since sold for scrap. The walls were partially stripped and scabbed with lead paint, and the remnants of a twee wallpaper that depicted an Alpine scene had been left to peel away like patches of dead, flaking skin. Empty cardboard boxes and fast-food wrappers were scattered on the floor. A single man, strung out and emaciated, was slumped against the wall. He was unconscious, and Milton would not have been able to say whether he was dead or alive. He heard low conversation from the front of the house and set off towards it. The junkie’s arm swept around sharply and his eyes swam with drunken stupor, but he paid Milton no heed as he passed through the room.

Can I have your sperm?” “Umm, no,” says my very handsome friend. He’s standing in the doorway of his stunning Upper East Side townhouse, wearing a completely bewildered expression. Who can blame him? It’s 10 p.m. and I’m in my pajamas, my bunned-up hair hanging askew off my head. “Before you say no, hear me out––” “No,” he repeats as if I haven’t just given him instructions. He eyeballs my pjs with the pigs with wings pattern on them. A joke gift Delia bought me when she told me she sleeps naked and I said I would do that when pigs fly. They’re very comfy. “Are you in your pajamas?” “Yes.” I push past him to get inside. “I’m prepared to assume all cost,” I rush to say, my voice high and marked with desperation. “You know my financial situation. You know I don’t need help in that regard. And you can participate as little or as much as you want in raising our child––” “Slow down, Stella––” “Jeff said no...” I walk directly into his living room and come to an abrupt stop. Stacks of cardboard boxes are everywhere. “Are you moving?” “Yes.” Ethan brushes a hand over his gorgeous face. “Where’s this coming from?” “I want a baby and the gays said I was too structured. And we’re friends, right? We respect each other, right?” “Wait? What gays?” “The architect, and the professor of economics at Columbia. Keep up, will you.” Ethan chuckles and I glare back. This wasn’t supposed to be this hard. And it’s poking at all my sore spots. “I really liked the professor. He’s the one that said I was too structured. The architect said he found a more geographically suitable candidate, but I’m pretty sure he was lying because I would’ve moved uptown if that was the only issue.” “Okay––” he says, taking a deep breath, his hands on his hips. “You want a baby.” “Yes.” “So go to a sperm bank.” “Too anonymous.” “I’m not giving you my sperm, Stella. I’m moving to Los Angeles in less than two weeks and I’m getting married. I don’t think she’d be too keen on me handing over my sperm.” Stunned, I rock back on my heels. “What?! To who?” “To a woman I’m in love with.” He smiles then, the sweetest of smiles, and I know he’s serious. “Camilla’s friend.” At my blank response he continues, “The actress––we haven’t talked in months.” “I called.” “To tell me my investments are up thirteen percent.” “You’re up fourteen for the year now. And you said you were too busy for a drink.” “You canceled the last time.” Totally dejected, I slump down on the armrest of his couch. “You were the last name on my list.” I can’t keep the disappointment out of my voice. I’m so bummed I may start to cry and I am not a crier. Ethan chuckles softly. “Wow, thanks.” “You know what I mean.” “Why not a sperm bank?” “I want my kid to know his or her father. I don’t want to tell them I bought their father.

The world had become opaque and real again as he walked up St. James’s Street and past the Ritz. He had a feeling that he was taking an afternoon off from God. The adventurous modernity of the room in which he waited intensified that. One whole white wall was devoted to a small picture by Wyndham Lewis. It was like a picture of an earthquake in a city of aniline pink and grey and keen green cardboard, and he wished it had never existed.

Mandarin, and technical English for a while. Therapies administered included but were not limited to: turning things off, then on again; picking them up a couple of inches and then dropping them; turning off nonessential appliances in this and other rooms; removing lids and wiggling circuit boards; extracting small contaminants, such as insects and their egg cases, with nonconducting chopsticks; cable-wiggling; incense-burning; putting folded-up pieces of paper beneath table legs; drinking tea and sulking; invoking unseen powers; sending runners to other rooms, buildings, or precincts with exquisitely calligraphed notes and waiting for them to come back carrying spare parts in dusty, yellowed cardboard boxes; and a similarly diverse suite of troubleshooting techniques in the realm of software.

An atheist club felt oxymoronic, like an apathy parade. But against all odds, it exists. The gathering of the godless takes place in a back room with a long table. A big blue atheism banner hangs from the ceiling—right next to the Christmas decorations of cardboard silver angels, an irony several of the atheists point out.

The town will never be the same. After the Tangiers, the big corporations took it all over. Today it looks like Disneyland. And while the kids play cardboard pirates, mommy and daddy dropped the house payments and Junior's college money on the poker slots. In the old days, dealers knew your name, what you drank, what you played - today it's like checking into an airport. And if you order room service, you're lucky if you get it by Thursday. Today it's all gone.

I sat down on the end of the bed and breathed a relaxed sigh, soaking up the room’s ambience. There was a slight, sweet scent in the air, as though flowers bloomed in the shadows unseen. I hadn’t noticed it at first, but there was a small black box sitting on a nearby table top. I climbed up off the bed and walked over to where it waited. It was a black cardboard gift box about two hand-spans across with a black satin ribbon tied around it. Whoever had left it obviously liked the colour black; possibly Prince Eldran.

It was so dark in the attic that at first the girls could see little by candlelight. As soon as Nancy’s eyes became accustomed to the dimness, she groped her way forward in the cluttered room. “The attic is really very interesting,” she said, surveying the assortment of boxes and trunks. She called her friends’ attention to a fine old table which stood in one corner. “I believe Mr. March could sell that,” she said. “And look at these old-fashioned hatboxes!” She picked up one of the round, cardboard boxes. On it was the picture of a gay rural scene of early American life. “Let me see that!” exclaimed Bess, blowing off the dust. “Mr. March certainly could get something for this. Only yesterday Mother told me about a hatbox like this which brought a good price at an auction sale.” “There are at least a dozen here!” George declared excitedly. “All in good condition, too!” They were decorated with pictures of eagles and flowers, as well as scenes of American history. Two of them contained velvet bonnets with feather ornaments. “Girls, this attic may be a valuable find!” Nancy exclaimed.

Elle held her breath as Darcy frowned thoughtfully. “Okay, got it. May I ask a question?” “Absolutely.” Elle gestured for Darcy to go on. “There’s no such thing as a stupid question. There’s a definite learning curve to this.” Darcy nodded. “All right. If your Jupiter is . . . in Virgo?” Elle nodded. “Where’s your Uranus?” “My Uranus is in Capri—” Elle froze. “Wow.” Darcy’s dimples deepened as she smiled impishly. “Sorry, it was just right there. You probably get that a lot.” “From frat boys and five-year-olds, not . . .” She trailed off, gesturing up and down in Darcy’s general direction with her free hand. “People like you.” “People like me?” Darcy’s brows rose and fell. “Like me how?” People who drank fifty-six-dollar glasses of wine and wore tight little pencil skirts and Christian Louboutin heels and worked as actuaries. Insufferable know-it-alls with cunning sensibilities and kissable little moon-shaped freckles. People with eyes like burnt caramel and full lips that looked candy-apple sweet. People who . . . who . . . Elle waved the notebooks in the air. “I don’t know. Which is why I’m here. I figured, we’d drink a little wine, play twenty questions, jot down our notes, and get to know each other a little. Make this charade a little more believable, if not truthful. Or close enough to assuage my conscience.” Darcy did that thing where she stared, brown eyes studying Elle from across the living room. It was only a look and yet it made Elle feel weirdly naked. “If you think it’s silly, we can—” “No.” Darcy shook her head and stepped closer, nudging the remaining bag with a stocking-covered toe. Stockings. Fuck. Elle sunk her teeth into her bottom lip. Pantyhose were the bane of her existence—if she so much as tried to put on a pair, she’d immediately get a run—but on Darcy . . . Elle tore her eyes away and feigned interest in ripping open the cardboard pen packaging. Darcy went on, “It’s not silly. No doubt Brendon will dig for details. It’s important for us to be on the same page. Good idea.

When my eyes adjusted to the dark, I could see that what had first appeared to be walls were large cardboard boxes stacked up in every available place, making the room seem smaller than it really was. The dark was real, though. It almost always is.

I go home, empty out three large cardboard boxes and stick them together so they make a long thin coffin shape. I lie in the coffin – in the middle of the living room – every day. And every day, I draw a blanket closer and closer to my face, until by the third day I can stand it covering my face for five minutes. When I can lie in the box for half an hour, I go back and have the MRI. This time I’m fine. Some things you just can’t do without practice.

cardboard box. On top of the dryer. On my LB. Lazing around the living room,

At first, the chicks will need about half a square foot per bird. Inside this area, you’ll want to hang a brooder lamp with a 250-watt bulb that will provide heat and light for the chicks. The bulb should have a shade or shield to create an umbrella of warmth that the birds can get under. They will tend to clump together under this light. If the chicks appear to be spreading out from the light, it is too hot, in which case you can raise it a little. You can stop drafts by placing a circle of cardboard 12 inches (30.4 centimeters) high around the birds, but make certain they have enough room to get out of the heat if they so desire. Some people use a plastic kiddie pool for this.

Inside, Tim saw a small room bathed in green light. Four technicians in lab coats were peering into double-barreled stereo microscopes, or looking at images on high resolution video screens. The room was filled with yellow stones. The stones were in glass shelves; in cardboard boxes; in large pull-out trays. Each stone was tagged and numbered in black ink.

From the storage room under the basement stairs she pulled out a small cardboard trunk that could only have been Tomas’s. Inside was an unvarnished, incomplete violin…Tomas took one look and burst into tears.

Conversation turned to a case that was in the news—Donald Williams Jr., an African American freshman at San Jose State University, had been relentlessly bullied by the white students he lived with in a four-bedroom dormitory suite. The white kids, also freshmen, had insisted on calling Williams “three-fifths,” a reference to the clause in the original US Constitution that counted slaves as three-fifths of a person when determining population for representation in Congress. They clamped a bike lock around his neck and claimed to have lost the key. They wrote Nigger on a whiteboard and draped a Confederate flag over a cardboard cutout of Elvis Presley in the suite’s living room. They locked him in his room. And they claimed it was all just a series of good-natured pranks. In the end, three eighteen-year-old white students were expelled for what they did to Williams, and a seventeen-year-old was suspended. The three who were expelled were also charged in criminal court. The charge: misdemeanor battery with a hate-crime enhancement, which carried a maximum penalty of a year and a half in county jail. A jury eventually convicted all three of battery but acquitted one of the students of the hate-crime charge and deadlocked on the others. “Girl, they got misdemeanors,” Regis said. “Nobody got charged with any felonies. Three white boys on one black boy.

Hard times in sobriety seem like a wall. But they’re just a cardboard wall. That you have to punch your way through to get to the magical stuff in the next room. I’m really learning that if you just sit with the discomfort and trust it will pass, it always, always does. And then really great times roll in. It’s as if the universe rewards you.

Bill Bradley (b. 1943) fell in love with the sport of basketball somewhere around the age of ten. He had one advantage over his peers—he was tall for his age. But beyond that, he had no real natural gift for the game. He was slow and gawky, and could not jump very high. None of the aspects of the game came easily to him. He would have to compensate for all of his inadequacies through sheer practice. And so he proceeded to devise one of the most rigorous and efficient training routines in the history of sports. Managing to get his hands on the keys to the high school gym, he created for himself a schedule—three and a half hours of practice after school and on Sundays, eight hours every Saturday, and three hours a day during the summer. Over the years, he would keep rigidly to this schedule. In the gym, he would put ten-pound weights in his shoes to strengthen his legs and give him more spring to his jump. His greatest weaknesses, he decided, were his dribbling and his overall slowness. He would have to work on these and also transform himself into a superior passer to make up for his lack of speed. For this purpose, he devised various exercises. He wore eyeglass frames with pieces of cardboard taped to the bottom, so he could not see the basketball while he practiced dribbling. This would train him to always look around him rather than at the ball—a key skill in passing. He set up chairs on the court to act as opponents. He would dribble around them, back and forth, for hours, until he could glide past them, quickly changing direction. He spent hours at both of these exercises, well past any feelings of boredom or pain. Walking down the main street of his hometown in Missouri, he would keep his eyes focused straight ahead and try to notice the goods in the store windows, on either side, without turning his head. He worked on this endlessly, developing his peripheral vision so he could see more of the court. In his room at home, he practiced pivot moves and fakes well into the night—such skills that would also help him compensate for his lack of speed. Bradley put all of his creative energy into coming up with novel and effective ways of practicing. One time his family traveled to Europe via transatlantic ship. Finally, they thought, he would give his training regimen a break—there was really no place to practice on board. But below deck and running the length of the ship were two corridors, 900 feet long and quite narrow—just enough room for two passengers. This was the perfect location to practice dribbling at top speed while maintaining perfect ball control. To make it even harder, he decided to wear special eyeglasses that narrowed his vision. For hours every day he dribbled up one side and down the other, until the voyage was done. Working this way over the years, Bradley slowly transformed himself into one of the biggest stars in basketball—first as an All-American at Princeton University and then as a professional with the New York Knicks. Fans were in awe of his ability to make the most astounding passes, as if he had eyes on the back and sides of his head—not to mention his dribbling prowess, his incredible arsenal of fakes and pivots, and his complete gracefulness on the court. Little did they know that such apparent ease was the result of so many hours of intense practice over so many years.

We decided to get another cat—no, two! A pair of tiny, spotted sisters from an animal shelter on Long Island. We brought them home in a cardboard box punched with holes that they poked their noses through. They ran around the house curious, fearless, and then abruptly collapsed, always right next to each other. They did everything that way: They ate and drank in unison; they got in the litter box at the same time, like a two-headed kitten. Paolo would have sneered at their sweetness. When Lucy was holding them, carefully clipping their nails, combing their fluff, she was the benevolent person I had met on the night of the blackout: Boy Scout Lady. She was the promise of family, decency, kin. And we were a kind of family now—they were only cats, but they were ours, new lives that we were taking on the care of, together. They slept in the bed with us and followed us around from room to room, except sometimes when we crossed paths with them and they looked at us as if they were seeing—for the first time in their lives—creatures so terrifying, so dangerous, they could barely stand to know that we existed. Then they went flying for the closets, where they hid until they were ready to recognize us again for who we were: the people who waited on them and met their every need. Their love slaves.

It’s not a spiderweb, you old fool, it’s the pull for the light.” She reached around him and tugged on the string. The naked hundred-watt bulb came on with a snap, blinding both of them for a moment. Blinking as her eyes adjusted, Taylor stared down the stairs, the light illuminating only the immediate stairwell. Fitz was grumbling behind her. She un-latched the snap on her holster, slipped her Glock out of the creaking leather. Holding it at her side, she started down. There was a landing, and she stopped, cautious, sticking the gun and her head around the corner at the same time, just in case. She saw nothing to alarm her, and returned the weapon to its holster as she went down the remaining steps. There was a light switch at the base of the stairs. Taylor flipped on the overhead fluorescent. It was a standard basement: cement floor, unfinished walls on three sides, one painted, as if the owners had contemplated finishing the room and wanted to see what it would look like. The barest whiff of stale air indicated a minor mold problem; the floor was cluttered with stacks of cardboard boxes, bicycles, sleds. All the material that wouldn’t fit nicely in the garage was placed haphazardly down here. It was just a storage space, probably only four hundred square feet: twenty feet deep and twenty long. Certainly nothing exciting. She returned the weapon to its holster. They did a pass through, looking behind boxes, but Taylor didn’t see anything out of place.

Clara gathered up her courage and climbed out of bed. Moonlight illuminated her room, scattered with cardboard boxes, the lids peeled open. From one she hefted out her Shorter Oxford English Dictionary, which she figured suitable weapon for doing battle with ghosts trying to take up residence under the stairwell. She held the substantial bulk of the alphabet in her hands, a word for every reality. Madness was for when words failed.

Oatmeal Raisin Crisps Preheat oven to 375° F., rack in the middle position. 1 cup melted butter (2 sticks—½ pound) 2 cups white sugar 2 teaspoons vanilla ½ teaspoon salt 2 teaspoons baking soda 2 large eggs, beaten (just whip them up with a fork) 2 ½ cups flour (no need to sift) 1 cup raisins (either regular or golden, you choose) 2 cups GROUND dry oatmeal (measure before grinding) Melt the butter in a large microwave-safe bowl. Add the sugar and mix. Then mix in the vanilla, salt, and the baking soda. When the mixture has cooled to room temperature, stir in the eggs. Add the flour and stir it all up. Then mix in the raisins. Prepare your oatmeal. (Use Quakers if you have it—the cardboard canister is useful for all sorts of things.) Measure out 2 cups and dump it in the food processor, chopping it with the steel blade until it’s the consistency of coarse sand. Dump it in your dough and mix it all up. (This dough will be fairly stiff.) Roll walnut-sized dough balls with your hands and place them on a greased cookie sheet, 12 to a standard sheet. (If it’s too sticky to roll, place the bowl in the refrigerator for 30 minutes and try again.) Squish the dough balls down with a fork in a crisscross pattern (like peanut butter cookies). Bake at 375 degrees for 10 minutes. Cool on the cookie sheet for 2 minutes, then remove the cookies to a wire rack to cool completely. Andrea likes these and she’s never liked raisins—go figure. Chapter Ten Andrea shivered as Hannah parked at the end of Vera Olsen’s alley.

In the afternoons, in the long pre-nights to Lima’s winter, Herr Oswald Teller, from his mildewy room, flooded the house with music and homesickness and geniality. Liquefied Mozart poured down the staircase and formed puddles in the hollows like a torrent of rain that had soaked through the roof.