Thumbprint Quotes

Where's Magnus?" he said. AS he looked toward the kitchen, Clary saw a bruise on his jaw, below his ear, about the size of a thumbprint. "Alec!" Magnus came skidding into the living room and blew a kiss to his boyfriend across the room. Having discarded his slippers, he was barefoot now. His cat's eyes shone as he looked at Alec.

Misery won't touch you gentle. It always leaves its thumbprints on you; sometimes it leaves them for others to see, sometimes for nobody but you to know of.

The oak trees had shed their leaves, revealing the inky thumbprints of crows' nests in the crackle glaze of dark branches.

It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. Was it consolation he’d had in mind, kissing the wound to make it better?

Grandfather's been dead all these years, but if you lifted my skull, by God, in the convolutions of my brain you'd find the big ridges of his thumbprint. He touched me. As I said earlier, he was a sculptor. 'I hate a Roman named Status Quo!' he said to me. 'Stuff your eyes with wonder,' he said, 'live as if you'd drop dead in ten seconds. See the world. It's more fantastic than any dream made or paid for in factories.

I'm so acutely aware of everything about him in this moment that I'm almost positive I could pick his thumbprint out of a lineup.

I believe the causes that create them [serial killers] are theological in nature, rather than societal. I believe they make a conscious choice to erase God's thumbprint from their souls.

Today I'll wear a dress made of sunlight, I'll spin like the lilies, I'll bloom like the stars. Hands hold, Hearts fold, Under my thumbprint sky.

It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolutions and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many times, fell in love with a human once. And she is tired. Unspeakably tired. But there is no question she has lived. 'Nothing is all good or all bad,' she says. 'Life is os much messier than that.' And there in the dark, he asks if it was really worth it. Were the instants of joy worth the stretches of sorrow? Were the moments of beauty worth the years of pain? And she turns her head, and looks at him, and says, 'Always.

One is seduced and battered in turn. The result is presumably wisdom. Wisdom! We are clinging to life like lizards. Why is it so difficult to assemble those things that really matter in life and to dwell among them only? I am referring to certain landscapes, persons, beasts, books, rooms, meteorological conditions, fruits. In fact, I insist on it. A letter is like a poem, it leaps into life and shows very clearly the marks, perhaps I should say thumbprints, of an unwilling or unready composer.

I can't kill myself, I thought. I'm too insignificant. I'm nothing. I'm a thumbprint on the first-floor window of a skyscraper, a smudge of excrement on a tissue surging out to sea along with millions of tons of raw sewage, a squirrel eating a nut as a car bore down on him.

Grandfather's been dead for all these years, but if you lifted my skull, by God, in the convolutions of my brain you'd find the big ridges of his thumbprint. He touched me. As I said earlier, he was a sculptor.

ridges of his thumbprint. He touched me. As I said

If he was a member of the human race at all, Neumann was its least attractive specimen. His eyebrows, twitching and curling like two poisoned caterpillars, were joined together by an irregular scribble of poorly matched hair. Behind thick glasses that were almost opaque with greasy thumbprints, his grey eyes were shifty and nervous, searching the floor as if he expected that at any moment he would be lying flat on it. Cigarette smoke poured out from between teeth that were so badly stained with tobacco they looked like two wooden fences.

Imagine this: imagine you discover that for many years another person intimately shared your life without your knowing it. Oh, you had your suspicions – the indented pillow beside you, the toothpaste with a thumbprint that wasn’t yours. Now it all fits, you know it’s true, but during all that time you never actually saw this person. And so it is with me. She was my shadow-self, unknown to me. She knew passion where I knew only inhibition, then grief where I knew guilt, then terror where I knew anger. She monitored my every thought, manipulated my actions, aided my survival and sabotaged my dreams, for she was I and I was she. (228)

There was an intensity of sensation when you were on the edge of what you could handle, when you were physically tested and made to fight for each breath, that was somehow exhilarating.

Every time the women appear, Snowman is astonished all over again. They're every known colour from the deepest black to whitest white, they're various heights, but each one of them is admirably proportioned. Each is sound of tooth, smooth of skin. No ripples of fat around their waists, no bulges, no dimpled orange-skin cellulite on their thighs. No body hair, no bushiness. They look like retouched fashion photos, or ads for a high priced workout program. Maybe this is the reason that these women arouse in Snowman not even the faintest stirrings of lust. It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. These were the places he'd single out, putting his mouth on them. Was it consolation he'd had in mind, kissing the wound to make it better? There was always an element of melancholy involved in sex. After his indiscriminate adolescence he'd preferred sad women, delicate and breakable, women who'd been messed up and who needed him. He'd liked to comfort them, stroke them gently at first, reassure them. Make them happier, if only for a moment. Himself too, of course; that was the payoff. A grateful woman would go the extra mile. But these new women are neither lopsided nor sad: they're placid, like animated statues. They leave him chilled.

I once asked my friends if they'd ever held things that gave them a spooky sense of history. Ancient pots with three-thousand-year-old thumbprints in the clay, said one. Antique keys, another. Clay pipes. Dancing shoes from WWII. Roman coins I found in a field. Old bus tickets in second-hand books. Everyone agreed that what these small things did was strangely intimate; they gave them the sense, as they picked them up and turned them in their fingers, of another person, an unknown person a long time ago, who had held that object in their hands. You don't know anything about them, but you feel the other person's there, one friend told me. It's like all the years between you and them disappear. Like you become them, somehow.

I’ve felt infinity too, late in my twenties, when I discovered a word in English I’d only ever known in Bengali. Or when I spot, with hours still left in the day, the moon’s hazy thumbprint. How the moon enjoys debunking the day.

He loved physical books with the same avidity other people loved horses or wine or prog rock. He'd never really warmed to ebooks because they seemed to reduce a book to a computer file, and computer files were disposable things, things you never really owned. He had no emails from ten years ago but still owned every book he bought that year. Besides, what was more perfect an object than a book? The different rags of paper, smooth or rough under your fingers. The edge of the page pressed into your thumbprint as you turned a new chapter. The way your bookmark - fancy, modest, scrap paper, candy wrapper - moved through the width of it, marking your progress, a little further each time you folded it shut.

You see?" Granger turned to Montag. "Grandfather's been dead for all these years, but if you lifted my skull, by God, in the convolutions of my brain you'd find the big ridges of his thumbprint. He touched me. As I said earlier, he was a sculptor. 'I hate a Roman named Status Quo!' he said to me. 'Stuff your eyes with wonder,' he said, 'live as if you'd drop dead in ten seconds. See the world. It's more fantastic than any dream made or paid for in factories. Ask no guarantees, ask for no security, there never was such an animal. And if there were, it would be related to the great sloth which hangs upside down in a tree all day every day, sleeping its life away. To hell with that,' he said, 'shake the tree and knock the great sloth down on his ass.

If you could do it again,” he says, “would you still make the deal?” And Addie says yes. It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolution and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many times, fell in love with a human once.

Only the devil could sear thumbprints so deep in your skin.

Well,” he said, “it’s a very circumstantial case. There’s the thumbprint,

It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise.

And sometimes they say 'Hey Mark you're spoiling all the paintwork' And sometimes they say 'Your thumbprints are on the paintwork

I never could read His handwriting except His criminal thumbprint on the haddock.

I covered his thumbprint with my thumb and considered for the first time that Papa might have been more than just old pictures - old, repeated stories.

Willem puts down his fork and knife. 'This is falling in love.' With his finger, he swipes a bit of the Nutella from inside his crepe and puts a dollop on the inside of my wrist. It is hot and oozy and starts to melt against my sticky skin, but before it has a chance to slither away, Willem licks his thumb and wipes the smear of Nutella off and pops it into his mouth. It all happens fast, like a lizard zapping a fly. 'This is being in love.' And he takes my other wrist, the one with my watch on it, and moves the watchband around until he sees what he's looking for. Once again, he licks his thumb. Only this time, he rubs it against my birthmark, hard, as if trying to scrub it off. 'Being in love is a birthmark?' I joke as I retract my arm. But my voice has a tremble in it, and the place where his wet thumbprint is drying against my skin burns somehow. 'It's something that never comes off, no matter how much you might want it to.' 'You're comparing love to a...stain?' He leans so far back in his seat that the front legs of his chair scrape off the floor. He looks very satisfied, with the crepe or with himself, I'm not sure. 'Exactly.

...You see?" Granger turned to Montag. "Grandfather's been dead for all these years, but if you lifted my skull, by God, in the convolutions of my brain you'd find the big ridges of his thumbprint.

You were a negative, a dark absence, a clump of cells crying to come together. You were a pause in the flickering before consciousness. And when the atoms swirled, and when the skies yawned, and when a nervous god, still virgin to creation, called you forth: did you marvel at your luck? Clumsy thumbprint of an awkward deity—did you slaughter the heavens, once freed? Did you grab the stars by their throats? Did you wear the skins of dead galaxies, your eyes ablaze with impossible fury?

It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolution and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many tunes, fell in love with a human once. And she is tired. Unspeakably tired. But there is no question that she has lived.

It has been a hard and lonely life, she says, and a wonderful one, too. She has lived through wars, and fought in them, witnessed revolution and rebirth. She has left her mark on a thousand works of art, like a thumbprint in the bottom of a drying bowl. She has seen marvels, and gone mad, has danced in snowbanks and frozen to death along the Seine. She fell in love with the darkness many times, fell in love with a human once. And she is tired. Unspeakably tired. But there is no question she has lived. “Nothing is all good or all bad,” she says. “Life is so much messier than that.

Cavendish jolts up, riding knee-to-knee. ‘His reliquary!’ George is upset, astonished. ‘To part with it like this! It is a piece of the true Cross!’ ‘We'll get him another. I know a man in Pisa makes them ten for five florins and a round dozen for cash up front. And you get a certificate with St Peter's thumbprint, to say they're genuine.

Besides, what was more perfect an object than a book? The different rags of paper, smooth or rough under your fingers. The edge of the page pressed into your thumbprint as you turned a new chapter. The way your bookmark -fancy, modest, scrap paper, candy wrapper -moved through the width of it, marking your progress, a little further each time you folded it shut.

I still dream of the taste of you, musty-sweet as a rare book, field smoke brushing a night train. Kisses mouth of pink oasis, fruitful and whiptorn, carved from rose stone. Quick and sure, like a thumbprint, your love for me. — Jan Richman, from “I Still Dream of the Taste of You,” Because the Brain Can Be Talked Into Anything (Louisiana State University Press, 1995)

To quote Ms. Lauryn: i wrote these words for everyone who struggles in their youth... * * - Esther - * * "Don't worry that you'll be a copy The Maker had you on His mind the entire time Before a speckle of sand hit the darkness Before sound came from the void Before two drops of hydrogen And oxygen combined Before mama knew papa The vibrations in your voice are like thumbprints The fequency and wavelength your sound generates Reverberates in the universe Breaking and entering into souls A light house in a perfect storm Your siren song does not take but lends To safety To refuge To home Don't be afraid that its already been said - Speak Don't be afraid that its already been thought - Think In this generation This moment For this time

We passed a small-boat harbor, gleaming white on blue, and a long pier draped with fishermen. Everything was as pretty as a postcard. The trouble with you, I said to myself: you're always turning over the postcards and reading the messages on the underside. Written in invisible ink, in blood, in tears, with a black border around them, with postage due, unsigned, or signed with a thumbprint.

In the old days, farmers would keep a little of their home-made opium for their families, to be used during illnesses, or at harvests and weddings; the rest they would sell to the local nobility, or to pykari merchants from Patna. Back then, a few clumps of poppy were enough to provide for a household's needs, leaving a little over, to be sold: no one was inclined to plant more because of all the work it took to grow poppies - fifteen ploughings of the land and every remaining clod to be built; purchases of manure and constant watering; and after all that, the frenzy of the harvest, each bulb having to be individually nicked, drained and scrapped. Such punishment was bearable when you had a patch or two of poppies - but what sane person would want to multiply these labours when there were better, more useful crops to grow, like wheat, dal, vegetables? But those toothsome winter crops were steadily shrinking in acreage: now the factory's appetite for opium seemed never to be seated. Come the cold weather, the English sahibs would allow little else to be planted; their agents would go from home to home, forcing cash advances on the farmers, making them sign /asámi/ contracts. It was impossible to say no to them: if you refused they would leave their silver hidden in your house, or throw it through a window. It was no use telling the white magistrate that you hadn't accepted the money and your thumbprint was forged: he earned commissions on the oppium adn would never let you off. And, at the end of it, your earnings would come to no more than three-and-a-half sicca rupees, just about enough to pay off your advance.

Goodnight, sweet schoolmaster. It's been a pleasure." On which he walked out, arse-naked, carrying his clothes under his arm and his boots by the heels so as not to mar their leather with thumbprints. I lay back on my bed and stared at the ceiling. A moment later the door reopened and Hentzau stuck his head in. "Are you going to tell me what you were up to that night? I meant to seduce it out of you, but I forgot.

We wake from our doings in a deep sweat for that they happened in a house without an address, in a street in no town, citizened with people with no names with which to deny them. Their very lack of identity makes them ourselves. For by a street number, by a house, by a name, we cease to accuse ourselves. Sleep demands of us a guilty immunity. There is not one of us who, given an eternal incognito, a thumbprint nowhere set against our souls, would not commit rape, murder and all abominations.

and he finds that the disease has tiptoed backward. Quarantine is over: three quarters of a million dead, only thirty thousand in the United States. Most deaths have been contained in a few areas, the city mostly. The president praises technology, the ability to track the disease and make decisions; he comes onto the e-reader, blue thumbprints under his eyes, and says, Without technology, the pandemic would have been a disaster of proportions never before seen on this planet. We must be grateful.

and the next day the parcel arrived. — This was all getting a bit eventful. In fact, when the parcel arrived, delivered by a kind of robot drone that dropped out of the sky making droning robot noises, it brought with it a sense, which gradually began to permeate through the whole village, that it was almost one event too many. It wasn’t the robot drone’s fault. All it required was Arthur Dent’s signature or thumbprint, or just a few scrapings of skin cells from the nape of his neck, and it would be on its way again. It hung around waiting, not quite sure what all this resentment was about.

Reading Chip's college orientation materials, Alfred had been struck by the sentence New England winters can be very cold. The curtains he'd bought at Sears were of a plasticized brown-and-pink fabric with a backing of foam rubber. They were heavy and bulky and stiff. "You'll appreciate these on a cold night," he told Chip. "You'll be surprised how much they cut down drafts." But Chip's freshman roommate was a prep-school product named Roan McCorkle who would soon be leaving thumbprints, in what appeared to be Vaseline, on the fifth-grade photo of Denise. Roan laughed at the curtains and Chip laughed, too. He put them back in the box and stowed the box in the basement of the dorm and let it gather mold there for the next four years. He had nothing against the curtains personally. They were simply curtains and they wanted no more than what any curtains wanted - to hang well, to exclude light to the best of their ability, to be neither too small nor too large for the window that it was their task in life to cover; to be pulled this way in the evening and that way in the morning; to stir in the breezes that came before rain on a summer night; to be much used and little noticed. There were numberless hospitals and retirement homes and budget motels, not just in the Midwest but in the East as well, where these particularly brown rubber-backed curtains could have had a long and useful life. It wasn't their fault that they didn't belong in a dorm room. They'd betrayed no urge to rise above their station; their material and patterning contained not a hint of unseemly social ambition. They were what they were. If anything, when he finally dug them out of the eve of graduation, their virginal pinkish folds turned out to be rather less plasticized and homely and Sears-like than he remembered. They were nowhere near as shameful as he'd thought.

It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. These were the places he'd single out, putting his mouth on them. Was it consolation he'd had in mind, kissing the wound to make it better? There was always an element of melancholy involved in sex. After his indiscriminate adolescence, he'd preferred sad women, delicate and breakable, women who'd been messed up and who needed him. He'd like to comfort them, stroke them gently at first, reassure them. Make them happier, if only for of himself. Himself too, of course; that was the payoff. A grateful woman would go the extra mile.

We’re halfway to the airport when my phone buzzes with a text. I have it set so that none of my texts (especially the photos) show up on the screen unless I’m logged in. It’s a pretty crucial precaution, and the text Jamie has just sent me proves why. When I authenticate my thumbprint, the screen fills with a picture that is not safe for work. It’s both dirty and hysterical all at once. Jamie’s very hard dick fills the shot. Only it’s angled toward the wall where the full, pink head leans against a flat nail that it’s presumably pounding. And Jamie has used some app to draw a happy face on his cockhead. The effect is startlingly transformative. His dick looks like…an expressive, alien creature performing some minor home repair. I give a snort of laughter. And here they thought my shirt was gay. I’ll show you gay…

The introduction of cinematography enabled us to corral time past and thus retain it not merely in the memory - at best, a falsifying receptacle - but in the objective preservative of a roll of film. But, if past, present and future are the dimensions of time, they are notoriously fluid. There is no tension in the tenses and yet they are always tremulously about to coagulate. The present is a liquid jelly which settles into a quivering, passive mass, the past, as soon as - if not sooner than - we are aware of it as present. Yet this mass was intangible and existed only conceptually until arrival of the preservative, cinema. The motion picture is usually regarded as only a kind of shadow play and few bother to probe the ontological paradoxes it presents. For it offers us nothing less than the present tense experience of time irrefutably past. So that the coil of film has, as it were, lassoed inert phenomena from which the present had departed, and when projected upon a screen, they are granted a temporary revivification. [...] The images of cinematography, however, altogether lack autonomy. Locking in programmed patterns, they merely transpose time past into time present and cannot, by their nature, respond to the magnetic impulses of time future for the unachievable future which does not exist in any dimension, but nevertheless organizes phenomena towards its potential conclusions. The cinematographic model is one of cyclic recurrences alone, even if these recurrences are instigated voluntarily, by the hand of man viz. the projectionist, rather than the hand of fate. Though, in another sense, the action of time is actually visible in the tears, scratches and thumbprints on the substance of the film itself, these are caused only by the sly, corrosive touch of mortality and, since the print may be renewed at will, the flaws of aging, if retained, increase the presence of the past only by a kind of forgery, as when a man punches artificial worm-holes into raw or smokes shadows of fresh pain with a candle to produce an apparently aged artefact. Mendoza, however, claimed that if a thing were sufficiently artificial, it became absolutely equivalent to the genuine.

If anyone had ever asked me to defend my work, here’s what I would have said: The more complex a behavior is, the more rigorous and complicated the science behind it. Math, chemistry, that’s the easy stuff—closed models with discrete answers. To understand behavior—human or elephant—the systems are far more complex, which is why the science behind them must be that much more intricate. But no one ever asked. I’m pretty sure my boss, Grant, thought this was a phase I was going through, and that sooner or later, I’d get back to science, instead of elephant cognition. I had seen elephants die before, but this was the first time since I’d changed my research focus. I wanted every last detail to be noted. I wanted to make sure I didn’t overlook anything as too mundane; any action that I might learn later was critical to the way elephants mourn. To that end, I stayed there, sacrificing sleep. I marked down which elephants came to visit, identifying them by their tusks, their tail hair, the marks on their bodies, and sometimes even the veins on their ears, which had patterns as unique as our own thumbprints. I cataloged how much time they spent touching Mmaabo,

Lavender,' he commented, looking at the ribbons in her sleeve. 'The prince was tired, he said, of looking at so much black.' 'So am I,' he breathed. ... Sorrow caught her, as it did sometimes unexpectedly: a thumbprint of fire in the hollow of her throat. She swallowed it, said only, 'Because you have been working so hard, my lord.' 'I'm not used to it yet.' He measured a trailing end of the ribbon at her wrist between his fingers, oblivious of the guards and hovering officials who had followed him. ... He added impulsively, 'Perhaps I'll come with you this afternoon.' The thought made her smile. 'To my father's tavern? It's hardly for the likes of you.' 'I've been to --' 'I know, my lord: every tavern in Ombria but the Rose and Thorn. I wonder how you missed it.' Then, out of nowhere, a chill of fear blew through her; she heard herself say, 'We can't both leave the prince. Not both of us at once.' He gave her a strange look, not of surprise, but a reflection of her fear, which she found odder still. He loosed the ribbon, nodded, his eyes returning briefly to the prince's door. 'Perhaps you're right. He knows where you're going?' 'He knows, my lord. But I'll be back before he remembers that I'm gone.' 'Be careful,' he said. 'Tell your father that I will come and draw in his tavern some day.' But that was idle wishing, she knew. Already he was a legend in certain parts of the city, and legends, having made themselves so, rarely returned to repeat their feats. He seemed to read her mind. His eyes, clear, faintly smiling, held hers a moment. 'Not,' he said, 'an idle wish.' A promise, his eyes told her. She blinked, then dismissed the half-glimpsed idea that had rolled like a sea creature on the surface of her mind, then dove back down, so deeply that she had forgotten it before she returned to her chamber.

Poetry is the report of a nuance between two moments, when people say 'Listen!' and 'Did you see it?' 'Did you hear it? What was it?' Poetry is a plan for a slit in the face of a bronze fountain goat and the path of fresh drinking water. Poetry is a slipknot tightened around a time-beat of one thought, two thoughts, and a last interweaving thought there is not yet a number for. Poetry is the journal of a sea animal living on land, wanting to fly the air. Poetry is any page from a sketchbook of outlines of a doorknob with thumb-prints of dust, blood, dreams. Poetry is a type-font design for an alphabet of fun, hate, love, death. Poetry is the silence and speech between a wet struggling root of a flower and a sunlit blossom of that flower. Poetry is a fresh morning spider-web telling a story of moonlit hours of weaving and waiting during a night. Poetry is a packsack of invisible keepsakes. Poetry is the establishment of a metaphorical link between white butterfly-wings and the scraps of torn-up love letters. Poetry is the achievement of the synthesis of hyacinths and biscuits.

Why did you call me 'Deer of Heaven'? It makes no sense. It sounded beautiful then, but it was childish.

That a ploughman’s turned out to be a rectangular slab of sharp-tasting cheese, a lettuce leaf, an undersized tomato with a thumb-print in it, a mound of something wet and brown that tasted like sour jam, and a small, hard, stale roll, came as a sad disappointment to Ben, who had already decided that the British treated food as some kind of punishment.

Your novel. Couldn’t put it down. Quite literary, but with a lot of commercial potential. Irony and yet compassion for the characters. Involved and complex while still being a real page-turner.

now,” Ali said. “I won’t be able to talk to her about any of this until after school is over for the day.” “Don’t,” Stu advised. “Let me get a little better handle on what’s going on before you discuss it with her. In fact, don’t discuss it with her at all. Once we have her thumbprint she’ll have access to all her grandmother’s financial dealings and so will we without anyone crossing over into forbidden territory.” Hacking into unauthorized servers was something Stu Ramey did very well, but there were always risks involved, and hacking into financial accounts when it wasn’t necessary was stupid.

Some would look at Emily’s life and think that a child born with Down’s syndrome has little hope for a meaningful life. Throw in the diagnosis of leukemia and that little hope turns into no hope whatsoever. I disagree. Emily’s life, with all its imperfections, had great meaning. Because of how many people she touched, I realize that we are far more than what we can accomplish. We are the very thumbprints of God.

In God’s thumbprint, we are only a millimeter of the swirling lines. We ask to be more, to be recognized, but we’re just part of God’s thumbprint. We swing through space every time she has to scratch her nose or wipe her ass. And we don’t notice the difference.

Thumbprint Cookies These wheat-free cookies will rock your world, but they won’t mess with your diet. • 1 cup raw almonds • 1 cup rolled oats • 1 cup organic spelt flour • 1/2 teaspoon cinnamon • 1/2 teaspoon powdered ginger • 1/8 teaspoon nutmeg • 1/4 teaspoon sea salt • 1/2 cup canola oil • 1/2 cup honey • 1 teaspoon vanilla extract • Overnight Jam for filling Preheat oven to 350 degrees, and line a cookie pan with parchment paper. Use a food processor with metal blade to grind almonds into coarse flour, about 2 minutes. Add oats, flour, cinnamon, ginger, nutmeg, and sea salt, and process for 1 more minute. Add oil, honey, and vanilla extract, and continue to process until dough forms a ball. Wrap dough in plastic wrap and set aside for 15 minutes at room temperature. Using a tablespoon of dough, form balls and place on cookie sheet. Make a thumbprint in each cookie and fill with Overnight Jam. Bake about 15 minutes, until cookie bottoms are browned.

I am SAM, and this is my first mission. Wish me luck. Actually, don’t bother. I’m that good. I need to move fast, but I have to be careful too.This high-tech fortress disguised as a middle school has security systems like Hershey, Pennsylvania, has chocolate. My biggest concern (and archnemesis) is Jan I. Tor. He’s the half-human, half-cyborg “cleaning service” they use for “light security” around here. Yeah, right. Tor’s definition of “light security” is that he only kills you once if he finds you. So I wait in super-stealthy silence while Tor hovers past my hiding spot with his motion detectors running, laser cannons loaded, and a big dust mop attachment on his robotic arm. He’s cleaning that floor to within an inch of its life, but it could be me next. As soon as Tor’s out of range, I slip off my tungsten gripper shoes. Believe me, once he’s been through here, you do not want to leave footprints behind. That would be like leaving a business card in Sergeant Stricker’s in-box. Stricker is the big cheese who runs this place, and she’s all human, but just as scary as Tor. I don’t want to rumble with either one of those two. So I program the shoes to self-destruct and drop them in the trash. FWOOM! The coast is clear now, and I sneak back into action. I work my way up the corridor in my spy socks, quiet as a ghost walking on cotton balls. Very, very puffy cotton balls—I’m that quiet. What I need is the perfect place to leave the package I came here to deliver. That’s the mission, but I can’t just do it anywhere. I have to choose wisely. Bathroom? Nah. Too echoey. Library? Nah. Only one exit, and I can’t take that risk. Main lobby? Hmm… maybe so. In fact, I wish I’d thought of that on my way in. I could have saved myself one very expensive pair of tungsten gripper shoes. Once my radar-enabled Rolex watch tells me the main lobby is clear, I slide in there and get right to work. I enter the access code on my briefcase, confirm with my thumbprint, and then pop the case open. After that, it takes exactly seven seconds and one ordinary roll of masking tape to secure my package to the wall. That’s it. Package delivered. Mission accomplished. Catch you next time—because there’s no way you’ll ever catch me. SAM out!

No one knows the true origins of these people, whom we now call Ottomans. They emerge from among the anonymous wandering Turkmen sometime around 1280, a caste of illiterate warriors living among tents and woodsmoke, who ruled from the saddle and signed with a thumbprint and whose history was subsequently reconstructed by imperial myth-making.

STRAWBERRY FLIP COOKIES Preheat oven to 375 degrees F., rack in the middle position. 1 cup melted butter (2 sticks) 1 cup white (granulated) sugar 2 beaten eggs (just whip them up with a fork) 1/3 cup seedless strawberry jam 1 teaspoon strawberry extract (or vanilla, if you can’t find it) 1 teaspoon baking powder ½ teaspoon soda ½ teaspoon salt 1½ cups chopped walnuts (or pecans) 3 cups flour (not sifted) small bowl of powdered (confectioner’s) sugar 1 bag frozen strawberries for garnish*** Melt the butter and add the white sugar. Then add the eggs and the strawberry jam. When the jam is fully incorporated, add the strawberry extract, baking powder, soda, and salt. Then add the chopped walnuts and the flour, and mix well. Roll dough balls with your hands about the size of unshelled walnuts. (If the dough is too sticky, chill it for a half hour or so and then try it again.) Roll the dough balls in the powdered sugar and place them on a greased cookie sheet, 12 to a standard sheet. Make a deep thumbprint in the center of each cookie. While the strawberries are still partially frozen, cut them in half lengthwise. (If your berries are too large to fit on your cookie balls, cut them in quarters instead of halves.) Flip the cut piece over and place it skin side up in the thumbprint you’ve made on top of each cookie. Bake at 375 degrees F. for 10 to 12 minutes. Cool on the cookie sheet for 2 minutes, then transfer to a wire rack to finish cooling. Dust the cookies with powdered sugar and place them on a pretty plate before serving. Yield: 7 to 8 dozen cookies. The tart strawberry pieces are wonderful with the sweet cookie. Carrie Rhodes just adores these. As a variant, you can also makes these with seedless raspberry jam and whole fresh raspberries on top. Chapter

growing crop of biometric tools—sleep measurement apps, fitness monitors, the thumbprint reader introduced on Apple’s iPhone 5S, the gene-sequencing service 23andme.com—means that corporations are set to know us at the physical, even genomic level. (“Your DNA will be your data,” says one particularly creepy HSBC ad spotted at JFK airport.)

To buy something you punched in the vendor’s credit number and the amount of purchase; the sum was automatically shuffled from your account to his. The machine was the size of a slender wallet and coded to your thumbprint.

thirty-one thumbprints on the construction paper, so the class was very large,

My lola had made a few jars of her specialty, matamis na bao, or coconut jam, to spread on our pandesal and kakanin. The fragrant smell of coconut cream, caramelized sugar, and pandan leaves wafted through the room, the intoxicating aroma of the dark, sticky jam making my mouth water. I scanned the contents of the fridge, waiting for inspiration to strike. Whatever I made had to be small and snack-y, so as to complement but not draw attention from my grandmother's sweet, sticky rice cakes. Maybe some kind of cookie to go with our after-dinner tea and coffee? Coco jam sandwiched between shortbread would be great, but sandwich cookies were a little heavier and more fiddly than what I was looking for. Maybe if they were open-faced? As I thought of a way to make that work, my eyes fell on the pandan extract in the cabinet and everything clicked into place. Pandan thumbprint cookies with a dollop of coconut jam! Pandan and coconut were commonly used together, plus the buttery and lightly floral flavor of the cookies would balance well against the rich, intense sweetness of the jam.

I once asked my friends if they’d ever held things that gave them a spooky sense of history. Ancient pots with three-thousand-year-old thumbprints in the clay, said one. Antique keys, another. Clay pipes. Dancing shoes from WWII. Roman coins I found in a field. Old bus tickets in secondhand books. Everyone agreed that what these small things did was strangely intimate; they gave them the sense, as they picked them up and turned them in their fingers, of another person, an unknown person a long time ago, who had held that object in their hands. You don’t know anything about them, but you feel the other person’s there, one friend told me. It’s like all the years between you and them disappear. Like you become them, somehow.

When the bell rings she hurries up to me with more than twenty sheets of paper. She’s Indian—Hidatsa, maybe, or Sioux—and the other children let her pass as if she were invisible. The morning star dances in a red circle, singing a song about his girlfriend Sheila; the angel Gabriel stands before Mary, his blue wings ablaze with stars. His mouth is open wide and notes are coming out, each one a different color. A woman with green hair holds her hands up to the sky and says: These are secret words, Say them after me. May all the plants and flowers rise And all people rise from death. I look up from the paper: a dusty shelf, a starfish in a jar caked with dust beside dusty petri dishes. I see shades of blue: the globe cerulean, the sky bleached out. And out the window, above the children’s heads, topsoil, the residue of ancient oceans, swirling like a thumbprint in the playground, wind pushing the empty swings. “So many poems,” I say, smiling at the girl. “You must love to write.” She shifts from foot to foot and weaves her hands in air. “I don’t have paper at home,” she says, “so I keep them in my head. That’s where they live until I write them down.

As a child, I was taken to look at a mountain, every year, in the summer. I was only willing to say: nothing terrifying happens to the good The lookout road opened when the snowpack melted, late in the season Others have argued for green fields Every year my father pointed to the mountain. I couldn’t see that far—meaning, I suppose, I didn’t want to— His finger traced a rivulet toward a source high in a crease where two mountains met. His thumbprint on the site where he had camped.

Meanwhile, on Dudley Road, stalks of rhubarb grew behind the blue-painted shed and roses bloomed on a bush above the cellar window. The swing set creaked. The stones in the garden path wobbled underneath my feet and there were pink sprigged cushions on the white wicker chairs on the porch. Inside, everything was pink and green, green and pink: the walls in my bedroom the color of the center of a raspberry thumbprint cookie, the floors the color of the sliver of green in after-dinner mints; the floor in my parents' bedroom the same, and the walls a smudged baby pink.

Candy-floss clouds flitted across the blue, crows like smudged thumbprints.

didn’t have your love of the land, your work ethic, your sense of adventure, your devotion to your family. They didn’t understand me the way you did. They didn’t push my buttons, they couldn’t give me a stupid nickname like Squeegee and make it sound like the most tender endearment.” “You couldn’t talk them into jumping from the top barn beam?” She snorted. “That too.” “They didn’t quit talking to you when you broke their leg?” “I did not break your leg. You—” His phone buzzed again, and she remembered that she’d never looked at it to begin with. She held it up. “It’s from your sister.” Half of the message was cut off, so she pressed the button and entered his password. It was the same as hers: Tella’s birthdate. They’d gotten their first phones about the same time she was born. Ames still remembered sitting in the hospital waiting to go in to see Louise and Tella, Palmer and her trying to figure out the newfangled technology together, wondering what a good password would be. She’d had three or four phones since. Palmer hadn’t been around when she’d gotten any of them, and now she used her thumbprint to open it most of the time, but her numerical passcode had stayed the same on all of them. Palmer’s phone opened. Apparently his had too. She pulled Louise’s text up and read it out loud. “‘Pap fell. He’s coherent but wobbly. I think he might have had another stroke. I’m taking him to the hospital in Rockerton. Gram and Tella are with me. The stock is fed for tonight, but the waterer in the far corner pasture is leaking.’” Palmer’s jaw set. His finger tapped the steering wheel. Ames set his phone down and put her hand on his leg. He jumped a little, and his mouth turned up, despite the worried look on his face. That slow grin that made her heart do cartwheels spread across his face. “I can get used to this,” Palmer said, looking at her hand before

She knew it was wrong to think this way, but seeing Marcos's mulberry thumbprint beneath the soft flap of her earlobe the next morning gave Angela the creeping satisfaction that he took the time to touch her.

If someone steals your password, you can change it. But if someone steals your thumbprint, you can't get a new thumb. The failure modes are very different.

As for the uncertainty—that can’t bother us. Because, as Arthur Miller wrote in Death of a Salesman, successfully fulfilling our creative need is “greater than hunger or sex or thirst, a need to leave a thumbprint somewhere on the world. A need for immortality, and by admitting it, the knowing that one has carefully inscribed one’s name on a cake of ice on a hot July day.

I was starting to learn that there’s a lot about the South African culture that follows the ceremony of a set rhythm. Love being the overarching ingredient – the flavor not openly mentioned yet fundamentally enjoyed -- from the freshly made homemade bread to how she had carefully chosen the right cut of biltong to accompany the flavor tones of the breakfast for the biltong sandwiches. It was all part of the little details – little thumbprints of love – that goes into the essence of the South African culture that most South Africans are oblivious, too, yet that only makes it more powerful – profound in its value since it’s so deeply engraved into the subconsciousness of the country’s expression of hospitality.

You cannot leave Africa, Africa said. It is always with you, there inside your head. Our rivers run in currents in the swirl of your thumbprints; our drumbeats counting out your pulse; our coastline the silhouette of your soul.

The depth at which we live is our personal song, our canvas - the energetic thumbprint we leave upon the world.

I’m so acutely aware of everything about him in this moment that I’m almost positive I could pick his thumbprint out of a lineup.

His dimples were strategically placed as though angels had made thumbprints on him.

Brandon, dude, I have wondered that so many times about Grace’s social skills. Is she still biting her thumb? I swear, I always knew what novels Grace had read in the library because there would be little bloody thumbprints on all the sad pages. Normal people cry—Grace gnaws her skin until it bleeds.

Misery won’t touch you gentle. It always leaves its thumbprints on you; sometimes it leaves them for others to see, sometimes for nobody but you to know of.

Poetry is the thumbprint of our collective soul.

still you greet me in waves I cannot decipher. Last night I smelled you in a dream. It is a thumbprint now but I can't forget the loss. I dreamed you beautiful. You are nothing beautiful. But three years and I can’t clean you off my skin.

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.

Civilisations rise and fall, but the hawks stay the same. This gives falconry birds the ability to feel like relics from the distant past. You take a hawk onto your fist. You imagine the falconer of the past doing the same. It is hard not to feel it is the same hawk. I once asked my friends if they’d ever held things that gave them a spooky sense of history. Ancient pots with three-thousand-year-old thumbprints in the clay, said one. Antique keys, another. Clay pipes. Dancing shoes from WWII. Roman coins I found in a field. Old bus tickets in secondhand books. Everyone agreed that what these small things did was strangely intimate; they gave them the sense, as they picked them up and turned them in their fingers, of another person, an unknown person a long time ago, who had held that object in their hands. You don’t know anything about them, but you feel the other person’s there, one friend told me. It’s like all the years between you and them disappear. Like you become them, somehow.

ODE TO THE SUN cracking the boughs of my neighbors' pines with your light— your first appearance in what feels like months let me stand in my bathrobe one foot in the pantry the other in the kitchen and lean to the left so your fire finds my irises I want to be blinded so when I close my eyes even then you are with me— thumbprint on the darkness—

Leaves go through so much. I love to pause and contemplate the effective lessons that the Weaver teaches through His creations in nature. Everything the Weaver creates has a singular blueprint that can never be replicated—a grain of sand, a snowflake, a human thumbprint and a leaf. You are never repeated and never will be because the Weaver sees you as precious and infinite. Everything in nature sings of the Weaver’s love for humanity, comforts with what lies in the unknown and tells you all you need to know about your purpose here and where you go after this short time on Earth.