The Sender Book Quotes

Today I found yet more evidence that I’m a lunatic. The proof came in a package in the mail. The sender? Myself. The evidence? Tampered with.

These things matter to me, Daniel, says the man with six days to live. They are sitting on the porch in the last light. These things matter to me, son. The way the hawks huddle their shoulders angrily against hissing snow. Wrens whirring in the bare bones of bushes in winter. The way swallows and swifts veer and whirl and swim and slice and carve and curve and swerve. The way that frozen dew outlines every blade of grass. Salmonberries thimbleberries cloudberries snowberries elderberries salalberries gooseberries. My children learning to read. My wife's voice velvet in my ear at night in the dark under the covers. Her hair in my nose as we slept curled like spoons. The sinuous pace of rivers and minks and cats. Fresh bread with too much butter. My children's hands when they cup my face in their hands. Toys. Exuberance. Mowing the lawn. Tiny wrenches and screwdrivers. Tears of sorrow, which are the salt sea of the heart. Sleep in every form from doze to bone-weary. Pay stubs. Trains. The shivering ache of a saxophone and the yearning of a soprano. Folding laundry hot from the dryer. A spotless kitchen floor. The sound of bagpipes. The way horses smell in spring. Red wines. Furnaces. Stone walls. Sweat. Postcards on which the sender has written so much that he or she can barely squeeze in the signature. Opera on the radio. Bathrobes, back rubs. Potatoes. Mink oil on boots. The bands at wedding receptions. Box-elder bugs. The postman's grin. Linen table napkins. Tent flaps. The green sifting powdery snow of cedar pollen on my porch every year. Raccoons. The way a heron labors through the sky with such a vast elderly dignity. The cheerful ears of dogs. Smoked fish and the smokehouses where fish are smoked. The way barbers sweep up circles of hair after a haircut. Handkerchiefs. Poems read aloud by poets. Cigar-scissors. Book marginalia written with the lightest possible pencil as if the reader is whispering to the writer. People who keep dead languages alive. Fresh-mown lawns. First-basemen's mitts. Dish-racks. My wife's breasts. Lumber. Newspapers folded under arms. Hats. The way my children smelled after their baths when they were little. Sneakers. The way my father's face shone right after he shaved. Pants that fit. Soap half gone. Weeds forcing their way through sidewalks. Worms. The sound of ice shaken in drinks. Nutcrackers. Boxing matches. Diapers. Rain in every form from mist to sluice. The sound of my daughters typing their papers for school. My wife's eyes, as blue and green and gray as the sea. The sea, as blue and green and gray as her eyes. Her eyes. Her.

Here, then, is another proposition: The medium is not the message; the message becomes what the receiver makes of it, applying to it his own codes of reception, which are neither those of the sender nor those of the scholar of communications.

In 1872, Western Union (by then the dominant telegraph company in the United States) decided to implement a new, secure scheme to enable sums of up to $100 to be transferred between several hundred towns by telegraph. The system worked by dividing the company's network into twenty districts, each of which had its own superintendent. A telegram from the sender's office to the district superintendent confirmed that the money had been deposited; the superintendent would then send another telegram to the recipient's office authorizing the payment. Both of these messages used a code based on numbered codebooks. Each telegraph office had one of these books, with pages containing hundreds of words. But the numbers next to these words varied from office to office; only the district superintendent had copies of each office's uniquely numbered book.

Step 1: The sender places the present in the briefcase, which they lock with their padlock and remove their key. They then send the locked briefcase to the receiver. Note: While the briefcase is en route from sender to receiver, it is safe from all adversaries, because they cannot remove the padlock from the briefcase. However, the receiver is also unable to obtain the present. Step 2: The receiver locks the briefcase with their own padlock and removes the key. They then return it to the sender. Note: The briefcase is now locked with two padlocks so no one can get the present. Step 3: The sender uses their own key to remove their padlock from the briefcase and returns the briefcase to the receiver. Note: The only lock on the briefcase belongs to the receiver. Step 4: The receiver removes their padlock from the briefcase to obtain the present.

In this simplistic example we have to admit that the sender has no way of knowing whose padlock is on the briefcase and that it might be possible for an adversary to impersonate the receiver and place their padlock on the briefcase. This is a problem that has to be addressed. The ‘Whose padlock is it?’ question in this briefcase example is similar to the ‘Whose public key is it?’ question that is so important when public key systems are used.

The correct use of a strong cipher is a clear boon to sender and receiver, but the misuse of a weak cipher can generate a very false sense of security.

Your first book is the promise you make.

I assemble monsters with my mind. I build them of broken glass, and forgotten words, and knotted yarn, I forget as they gobble up my memories, and I crawl as they pull upon my strings, but even when I write that they’ve trapped me in a tiny box wrapped with twisted burgundy bows addressed to return-to-sender, and I dream of wanting to dream...

You can say that God is a great artist or the Universe is a great artist or Nature is a great artist! As long as you reject the childish story that says God or the Universe or Nature is a book-sender, you're in a reasonable thinking space!

By this act And words of rhyme Trouble not These books of mine With these words I now thee render Candle burn and bad return 3 times stronger to its sender.

The power of philosophy to blunt the blows of fate is beyond belief. No missile can settle in her body; she is well-protected and impenetrable. She spoils the force of some missiles and wards them off with the loose folds of her dress, as if they had no power to harm; others she dashes aside, and throws them back with such force that they rebound upon the sender. Farewell.” – Seneca

In the spring of 1935, an editor at the New York publishing house Macmillan, while on a scouting trip through the South, was introduced to Mitchell and signed her to a deal for her untitled book. Upon its release in the summer of 1936, the New York Times Book Review declared it “one of the most remarkable first novels produced by an American writer.” Priced at $3, Gone with the Wind was a blockbuster. By the end of the summer, Macmillan had sold over 500,000 copies. A few days prior to the gushing review in the Times, an almost desperate telegram originated from New York reading, “I beg, urge, coax, and plead with you to read this at once. I know that after you read the book you will drop everything and buy it.” The sender, Kay Brown, in this missive to her boss, the movie producer David Selznick, asked to purchase the book’s movie rights before its release. But Selznick waited. On July 15, seeing its reception, Selznick bought the film rights to Gone with the Wind for $50,000. Within a year, sales of the book had exceeded one million copies. Almost immediately Selznick looked to assemble the pieces needed to turn the book into a movie. At the time, he was one of a handful of major independent producers (including Frank Capra, Alfred Hitchcock, and Walt Disney) who had access to the resources to make films. Few others could break into a system controlled by the major studios. After producing films as an employee of major studios, including Paramount and MGM, the thirty-seven-year-old Selznick had branched out to helm his own productions. He had been a highly paid salaried employee throughout the thirties. His career included producer credits on dozens of films, but nothing as big as what he had now taken on. As the producer, Selznick needed to figure out how to take a lengthy book and translate it onto the screen. To do this, Selznick International Pictures needed to hire writers and a director, cast the characters, get the sets and the costumes designed, set a budget, put together the financing by giving investors profit-participation interests, arrange the distribution plan for theaters, and oversee the marketing to bring audiences to see the film. Selznick’s bigger problem was the projected cost.

Tharion opened a search field within Declan’s program and typed in the sender’s address. He started as the result came in. Danika Fendyr.

Tharion finished Sofie’s inbox, checked the junk folder, and then finally the trash. It was mostly empty. He clicked open her sent folder, and groaned at the tally. But he began reading again. Click after click after click. His phone chimed with an alert: thirty minutes until he needed to get into the water. He could reach the air lock in five minutes, if he walked fast. He could get through another few emails before then. Click, click, click. Tharion’s phone chimed again. Ten minutes. But he’d halted on an email dated three years ago. It was so simple, so nonsensical that it stood out. Subject: Re: Dusk’s Truth The subject line was weird. But the body of her email was even weirder. Working on gaining access. Will take time. That was it. Tharion scanned downward, toward the original message that Sofie had replied to. It had been sent two weeks before her reply. From: BansheeFan56 Subject: Dusk’s Truth Have you gotten inside yet? I want to know the full story. Tharion scratched his head, opened another window, and searched for Dusk’s Truth. Nothing. No record of a movie or book or TV show. He did a search on the email system for the sender’s name: BansheeFan56. Another half-deleted chain. This one originating from BansheeFan56. Subject: Project Thurr Could be useful to you. Read it. Sofie had replied: Just did. I think it’s a long shot. And the Six will kill me for it. He had a good feeling he knew who “the Six” referred to: the Asteri. But when Tharion searched online for Project Thurr, he found nothing. Only news reports on archaeological digs or art gallery exhibits featuring the ancient demigod. Interesting. There was one other email—in the drafts folder. BansheeFan56 had written: When you find him, lie low in the place I told you about—where the weary souls find relief from their suffering in Lunathion. It’s secure. A rendezvous spot? Tharion scanned what Sofie had started to reply, but never sent. Thank you. I’ll try to pass along the info to my She’d never finished it. There were any number of ways that sentence could have ended. But Sofie must have needed a place where no one would think to look for her and her brother. If Sofie Renast had indeed survived the Hind, she might well have come here, to this very city, with the promise of a safe place to hide. But this stuff about Project Thurr and Dusk’s Truth … He tucked those tidbits away for later. Tharion opened a search field within Declan’s program and typed in the sender’s address. He started as the result came in. Danika Fendyr.