Torn Between Two Worlds Quotes

You are a man of extreme passion, a hungry man not quite sure where his appetite lies, a deeply frustrated man striving to project his individuality against a backdrop of rigid conformity. You exist in a half-world suspended between two superstructures, one self-expression and the other self-destruction. You are strong, but there is a flaw in your strength, and unless you learn to control it the flaw will prove stronger than your strength and defeat you. The flaw? Explosive emotional reaction out of all proportion to the occasion. Why? Why this unreasonable anger at the sight of others who are happy or content, this growing contempt for people and the desire to hurt them? All right, you think they're fools, you despise them because their morals, their happiness is the source of your frustration and resentment. But these are dreadful enemies you carry within yourself--in time destructive as bullets. Mercifully, a bullet kills its victim. This other bacteria, permitted to age, does not kill a man but leaves in its wake the hulk of a creature torn and twisted; there is still fire within his being but it is kept alive by casting upon it faggots of scorn and hate. He may successfully accumulate, but he does not accumulate success, for he is his own enemy and is kept from truly enjoying his achievements.

He felt himself, in a way, torn between two worlds: a solid, bourgeois world where ultimately everything was ordered and rational, as he was accustomed to from home, and an untrammelled one full of darkness, blood, and undreamt-of surprises.

Spellbound † My heart is torn between two worlds, Your love for me always unfurls. I dream of you no matter where I am Will this spell ever end?

That's what's so great about the story. It's real. What I mean is, even if it didn't actually happen-and there's debate about the Legends and Greivances section, and whether it's historically accurate-it shows the world truthfully. I remember feeling just like that baby: torn apart by feeling, split in two caught between loyalties and desires. That's how the diseased world is. That's how it was for me, before I was cured.

I didn’t go to the moon, I went much further — for time is the longest distance between two places. Not long after that I was fired for writing a poem on the lid of a shoe-box. I left Saint Louis. I descended the steps of this fire escape for a last time and followed, from then on, in my father’s footsteps, attempting to find in motion what was lost in space. I traveled around a great deal. The cities swept about me like dead leaves, leaves that were brightly colored but torn away from the branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of colored glass, tiny transparent bottles in delicate colors, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes. Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger — anything that can blow your candles out! For nowadays the world is lit by lightning! Blow out your candles, Laura — and so goodbye. . .

Rieker threaded her hair behind her ears with his other hands, his fingers lingering against her cheek. "We're different Tiki," he said softly. "We're caught between two worlds and honestly, I don't know which one we belong in. But I do know this - I don't want to be either place without you." He looked deep into her eyes. "I believe we found each other because we're meant to be together.

A celebrity is torn between two worlds; the world of fame where he works very hard to belong, and the care-free world of the masses which he cherishes but works hard again not to be noticed in it.

Once I had been diagnosed with a terminal illness, I began to view the world through two perspectives; I was starting to see death as both doctor and patient. As a doctor, I knew not to declare “Cancer is a battle I’m going to win!” or ask “Why me?” (Answer: Why not me?) I knew a lot about medical care, complications, and treatment algorithms. I quickly learned from my oncologist and my own study that stage IV lung cancer today was a disease whose story might be changing, like AIDS in the late 1980s: still a rapidly fatal illness but with emerging therapies that were, for the first time, providing years of life. While being trained as a physician and scientist had helped me process the data and accept the limits of what that data could reveal about my prognosis, it didn’t help me as a patient. It didn’t tell Lucy and me whether we should go ahead and have a child, or what it meant to nurture a new life while mine faded. Nor did it tell me whether to fight for my career, to reclaim the ambitions I had single-mindedly pursued for so long, but without the surety of the time to complete them. Like my own patients, I had to face my mortality and try to understand what made my life worth living—and I needed Emma’s help to do so. Torn between being a doctor and being a patient, delving into medical science and turning back to literature for answers, I struggled, while facing my own death, to rebuild my old life—or perhaps find a new one. —

No one knows what it means to be born and to live on the brink, between two worlds....to love and hate both, to hesitate and waver all one's life. To have two homelands and yet have none. To be everywhere at home and to remain forever a stranger. In short, to be torn on a rack, but as both victim and torturer at once.

Lost In black as solid as a mire In a land no one would die for In a time I was lost To anyone who ever loved me The world set itself on fire And the sky collapsed above me In a place no one could call home In a place I breathed and slept In a battle no one understood That continued all the same I sat defenseless and alone With the insignificance of my name In the midst of the Lord’s birth On a night meant to be peaceful In a country of the Prophet Where women don’t live free I spoke to God from the shaking Earth And prayed my mother would forgive me In a city without power In a desert torn by religion In a bank between two rivers We added up the decade’s cost And glorified the final hour Of a war that everyone had lost In the dust of helplessness In a concrete bunker In a fate I chose myself I waited without remorse To fight again as recompense For wasted lives and discourse -an original poem about an attack on our base in Iraq during the Arab Spring

The world finds itself torn between the two great bookends of human history, authoritarianism and anarchy. Authoritarianism is the world of order and stability without freedom...Anarchy, on the other hand, is the world of freedom without order and stability...The present challenge is to establish genuine personal freedom and substantially free societies in a generation that pays lip service to freedom while all the time it is pulled toward one or the other of the extremes.

You exist in a half-world suspended between two superstructures, one self-expression and the other self-destruction. You are strong, but there is a flaw in your strength, and unless you learn to control it the flaw will prove stronger than your strength and defeat you. The flaw? Explosive emotional reaction out of all proportion to the occasion. Why? Why this unreasonable anger at the sight of others who are happy or content, this growing contempt for people and the desire to hurt them? All right, you think they’re fools, you despise them because their morals, their happiness is the source of your frustration and resentment. But these are dreadful enemies you carry within yourself—in time destructive as bullets. Mercifully, a bullet kills its victim. This other bacteria, permitted to age, does not kill a man but leaves in its wake the hulk of a creature torn and twisted; there is still fire within his being but it is kept alive by casting upon it faggots of scorn and hate. He may successfully accumulate, but he does not accumulate success, for he is his own enemy and is kept from truly enjoying his achievements.

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).

What is stealing?When is it excusable? When is it a crime?' Thomas looked uncomfortable as he read. Christian perked up. Belle saw Christian listening with interest and looked down at her shoes. 'An action becomes stealing when one of two conditions are met. First, when there is harm to the victim. Second, when the act is done for personal gain.' Thomas looked up and smiled. He seemed happy with where the speech was going, and Belle breathed a sigh of relief. Christian's face had gone white. He stood frozen in his spot. Belle smiled as if to say that things were different with him. That stealing was different in their world. She was torn between excitement for Thomas and embarasment for Christian. 'If both these criteria are met, there is no question where society stands. When of two criteria is in question, society begins to debate. For example, is it wrong when someone takes something that has been thrown away? Perhaps not, since there is no detriment to the victim. Is it wrong when someone takes a loaf of bread to feed a starving baby or taxes the rich to help the poor? Perhaps not, since the motive is unselfish.' Victoria wasn't even looking at Thomas anymore. She was glaring at Belle. She looked like she was about to lunge at her. Belle signaled to her that perhaps she should take notes. But Victoria wasn't used to preparing rebuttals without advanced notice. 'When neither of the criteria is met, however, I propose that there is no crime against ethics. Is it wrong to take a syringe from a drug addict? Of course not.

Reading Mrs Gaskell's Life of Charlotte Brontë after Jane Eyre is a curious experience. The subject of the biography is recognisably the same person who wrote the novel, but the effect of the two books is utterly different. The biography is indeed depressing and painful reading. It captures better, I believe, than any any subsequent biography the introverted and puritan pessimist side of Charlotte Brontë, and conveys the real dreariness of the world of privation, critical discouragement and limited opportunity that so often made her complain in her letters that she felt marked out for suffering. Jane Eyre, on the other hand, is exhilarating reading, partly because the reader, far from simply pitying the heroine, is struck by her resilience, and partly because the novel achieves such an imaginative transmutation of the drab. Unlike that of Jane Austen's Fanny Price or Dickens's Arthur Clennam or John Harmon, Jane Eyre's response to suffering is never less than energetic. The reader is torn between exasperation at the way she mistakes her resentments and prejudices for fair moral judgements, and admiration at the way she fights back. Matthew Arnold, seeking 'sweetness and light' was repelled by the 'hunger, rebellion and rage' that he identified as the keynotes of the novel. One can see why, and yet feel that these have a more positive effect than his phrase allows. The heroine is trying to hold on to her sense of self in a world that gives it little encouragement, and the novel does put up a persuasive case for her arrogance and pugnacity as the healthier alternatives to patience and resignation. That the book has created a world in which the golden mean seems such a feeble solution is both its eccentricity and its strength.

As we lifted off, China growing ever more distant from the window-seat, the endless ocean opening up before us, I was torn between the excitement of something new and leaving that which I'd grown to love. In that moment, I understood we may never come back; that we were floating there suspended between two worlds, above the world. There was no logic in where we would go from here, nor any limitation. We had each other, and we knew now of what adaptation we were capable. Their faces flashed through my mind, and I wondered if we'd ever find a country like that again, or if we'd ever be as open with new friends, knowing now what it was like to leave them. Like a first love lost. I hoped we'd have the courage to love Germany so that the day we'd leave our hearts would also break. For what is life except that kind of attachment? And isn't it true that one can live in a place all their life, surrounded by comfort and familiarity, and never feel this longing? As the last view of China slipped off the horizon, I promised myself that I would always dare to love, squeezing Patrick's hand, and seeing that in our love for each other, we'd always have the strength to let go.

‌* When the coughing stopped, there was nothing but the nothingness of life moving on with a shuffle, or a near-silent twitch. ‌* Mistakes, mistakes, it’s all I seem capable of at times ‌*No matter how many times she was told that she was loved, there was no recognition that the proof was in the abandonment. ‌*It’s much easier, she realized, to be on the verge of something than to actually be it ‌*When death captures me,” the boy vowed, “he will feel my fist on his face.”. ‌*he’d turned for one last look at his family as he left the apartment. Perhaps then the guilt would not have been so heavy. No final goodbye. No final grip of the eyes. Nothing but goneness. ‌ *Wrecked, but somehow not torn into pieces. ‌*Life had altered in the wildest possible way, but it was imperative that they act as if nothing at all had happened. ‌*“If we gamble on a Jew,” said Papa soon after, “I would prefer to gamble on a live one,” and from that moment, a new routine was born. *‌you should know it yourself—a young man is still a boy, and a boy sometimes has the right to be stubborn.” ‌*The fire was nothing now but a funeral of smoke, dead and dying, simultaneously. ‌*Even death has a heart.. ‌* In truth, I think he was afraid. Rudy Steiner was scared of the book thief’s kiss. He must have longed for it so much. He must have loved her so incredibly hard. So hard that he would never ask for her lips again and would go to his grave without them. ‌*There is death. Making his way through all of it. On the surface: unflappable, unwavering. Below: unnerved, untied, and undone. *‌That damn snowman,” she whispered. “I bet it started with the snowman—fooling around with ice and snow in the cold down there.” Papa was more philosophical. “Rosa, it started with Adolf.” *‌There were broken bodies and dead, sweet hearts. Still, it was better than the gas ‌*They were French, they were Jews, and they were you. ‌*Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. *‌Himmel Street was a trail of people, and again, Papa left his accordion. Rosa reminded him to take it, but he refused. “I didn’t take it last time,” he explained, “and we lived.” War clearly blurred the distinction between logic and superstition. ‌*Silence was not quiet or calm, and it was not peace. ‌*“I should have known not to give the man some bread. I just didn’t think.” “Papa, you did nothing wrong.” “I don’t believe you. ‌ * I’m an idiot.” No, Papa. You’re just a man.. ‌*What someone says and what happened are usually two different things ‌* despised by his homeland, even though he was born in it ‌ *“Of course I told him about you,” Liesel said. She was saying goodbye and she didn’t even know it. ‌*Say something enough times and you never forget it ‌*robbery of his life? ‌*Those kinds of souls always do—the best ones. The ones who rise up and say, “I know who you are and I am ready. Not that I want to go, of course, but I will come.” Those souls are always light because more of them have been put out. More of them have already found their way to other places ‌*One could not exist without the other, because for Liesel, both were home. Yes, that’s what Hans Hubermann was for Liesel Meminger ‌*DEATH AND LIESEL It has been many years since all of that, but there is still plenty of work to do. I can promise you that the world is a factory. The sun stirs it, the humans rule it. And I remain. I carry them away.

It makes you worry about what people think about who you married, or if your new house you bought is less expensive than the last one you bought, or that your husband may have a roving eye.” Amanda felt a sudden twinge of sympathy, and ruthlessly tried to quell it. She really didn’t want to feel it for the mayor at all. “Doesn’t excuse her bad behavior, I know, but thought it would help for you to hear a bit about her. My Dad says she used to be really well-liked in town. She didn’t always push people around like this.” Amanda thought about that, trying to imagine the mayor as a carefree bride, hopeful for her future. It wasn’t easy. She needed some time to think about it. Maybe the mayor changed because she thought she had to change, or because she was afraid what would happen to her world if she didn’t. Maybe she was just trying to survive. Amanda subdued any twinges of compassion as she furiously cleaned in the corner between the wall and the massive bed. Yes, people change, she thought, but that doesn’t give anyone the right to treat other people like garbage. Just because she had a bad life doesn’t mean she can act like she rules everyone else. She saw the corner of the torn envelope the moment she flipped back the corner of the rug. She picked it up and was just going to toss it into the small garbage can she was dragging with her through the room, when her eyes caught some writing on the outside. YOU HAVE TWO HOURS Big dark letters, written in an angry scrawl across the front. Amanda’s blood ran cold. This wasn’t a piece of mail carelessly left. This was something that had been deliberately hidden, and that was much more personal and angry. She glanced sideways at James, who was busy ripping down the heavy velvet curtains, a cloud of dust poofing around his head. It took only a moment for Amanda to fold the envelope in half and stuff it into her pocket. She patted it hard to ensure there’d be no telltale bulge, and pulled the

(The very next day) 'I am enduring will standing alone bare and yes, I am completely naked to the world outside. So, unprotected by the atmosphere above and around me, so unlike- the day, I was born into this hellish world.' 'My life was not always like this! Still as of now, I stand trembling on top of this cruel land, which I call my hereditary land or my home-town.' 'Some still call me by my name, and that is 'Nevaeh May Natalie.' 'Some of the others, like the kids I go to school within this land, have other titles for me.' 'However, you can identify me by the name of 'Nevaeh.' That is if you want to.' 'I do not think that even matters to you, my name is… it has been replaced and it is not significant anymore. Nor does my name matter to anyone out there for miles around. At least that is the way it seems to me, standing here now as I see the bus come to take me there.' 'Names or not said to me, 'I feel alone!' I whispered to myself.' 'It is like I am living a dream. I didn't think my nightmare of orgasmic, tragic, and drizzling emotions pouring in my mind would last this long.' ('Class, faces, names, done.') 'It like a thunderstorm pounding in my brain, as it is today outside. I have come home from yet another day of hell that would be called- school to you.' 'I don't even go into the house until I have this restricting schoolgirl uniform torn off my body. I feel like my skin is crawling with bugs when it is on my figure.' (Outside in the fields, next to the tracks) 'It's the middle- September and I am standing in the rain. It is so cold, so lonely, and so loveless! Additionally, this is not usual for me, I am always bare around my house, I have my reason you'll see.' 'The rain has been falling on me like knives ever since the moment, I got off the yellow bus.' 'A thunderbolt clattered, more resonant than anything ever heard previously.' 'All the rain is matting my long brown hair on me as it lies on my backside longer than most girls. Yet I am okay with that at last, I am free.' (I have freedom) 'To a point! I still feel so trapped by all of them.' 'Ten or twenty minutes have now passed; I am still in the same very spot. Just letting water follow me down. I'm drenched!' 'I can feel the wetness as it lingers in my hair for a while, so unforgivably soaking my body even more as if sinking within me washing me clean.' 'Counting my sanctions, I feel satisfied in a way when I do feel it dropping offends my hair, as if 'God' is still in control of my life, even if I was sent to and damned to hell.' 'Like it is wiping away everything that happened to me today, away from the day of the past too.' 'The wetness is still running down the small of my back thirty minutes must have passed, and it is like my mind is off.' 'Currently, it follows the center point on my back. Then down in-between my petite butt cheeks. Water and bloodstream off my butt to the ground near the heels of my feet. I can feel as if that part of me is washed clean from the day that I had to go through.' 'Some of this shower is cascading off my little face, and it slowly collects on my little boobs, where it beads up and separates into two different watercourses down to my belly button.' 'I eyeball this, as it goes all the way down the front of me. It trickles down on me, to where it turns the color of light pink off my 'Girly Parts.' As they would never be the same.

What is the heart of the story? What’s the hook? What’s the setting? What is the primary action that drives the story? What is the emotional core? What are the external conflicts (the world is coming to an end!) What are the internal conflicts (torn between two lovers) What is the driving emotional force? (revenge, love) Will they succeed? (introduce doubt)

before excusing himself. “Sorry.” She turned

There was Laurie, airing out all of her families’ dirty laundry. She even told the world that Dena and JT were fucking. It was humiliating. She could never show her

A veil Separating two worlds Of which, both I was created from Of which, both I still reside This cloth Now a threshold Lays over my body, gently Casting its covering over my crystalized vision I peer through each separation of thread With a breath that comes in slowly And an exhale that leaves me with more questions than I have answers for Each one creating the liminal space that becomes me With just one word The unknown becomes existence, once more Around me and through me and in me The torn garment slides downwards over my eyes In the same way dawn pulls with it a blanket of light Over barren land come morning It continues its path Cascading down the blackness of my hair Sweeping over the olive of my skin Falling between the creation of my own hands Hands that have grasped, and strived, and toiled Struggling to reconcile all that I have once believed In the silence between breaths I hear the sound of The Eternal Calling for me In my stillness I am carried out of the garden Into the desert Delivered out from my own will Into the arms of The Burren The wilderness of ancient hills Built upon lamentations That of my own That of the world before and to come My skin, now bare of its cloth Stripped of all notion Held to the bosom of the Earth A relentless hold Until I remember Just Who I Am

One cannot exist with a heart torn in half between two loves, two decisions, or two worlds, because it will eventually break in two.

You might be willing to get on your knees for Hybern, but I certainly am not.' He exploded. Furniture splintered and went flying, windows cracked and shattered. And this time, I did not shield myself. The worktable slammed into me, throwing me against the bookshelf, and every place where flesh and bone met wood barked and ached. My knees slammed into the carpeted floor, and Tamlin was instantly in front of me, hands shaking- The doors burst open. 'What have you done,' Lucien breathed, and Tamlin's face was the picture of devastation as Lucien shoved him aside. He let Lucien shove him aside and help me stand. Something wet and warm slid down my cheek- blood, from the scent of it. 'Let's get you cleaned up,' Lucien said, an arm around my shoulders as he eased me from the room. I barely heard him over the ringing in my ears, the slight spinning to the world. The sentries- Bron and Hart, two of Tamlin's favourite lord-warriors among them- were gaping, attention torn between the wrecked study and my face. With good reason. As Lucien led me past a gilded hall mirror, I beheld what had drawn such horror. My eyes were glassy, my face pallid- save for the scratch just beneath my cheekbone, perhaps two inches long and leaking blood. Little scratches peppered my neck, my hands. But I willed that cleansing, healing power- that of the High Lord of Dawn- to keep from seeking them out. From smoothing them away. 'Feyre,' Tamlin breathed from behind us. I halted, aware of every eye that watched. 'I'm fine,' I whispered. 'I'm sorry.' I wiped at the blood dribbling down my cheek. 'I'm fine,' I told him again. No one, not even Tamlin, looked convinced. And if I could have painted that moment, I would have named it A Portrait in Snares and Baiting.

There were many starving people and the policemen treated them as criminals. Perhaps they were. There was no line between starvation and crime. He felt himself torn in the division of reality. The world, the whole world, was divided into two parts, the island of the rich and the ocean of the poor.

Maxantarius Farlione is nearly solely responsible for the end of the Great Ryvenai War. Specifically, our victory at the city of Sarlazai.” No one made a sound, but the emotional response that tore through the air was so explosive that for one moment I forgot to breathe — as if I was being ripped in two, torn between stunned admiration and acidic revulsion. I clenched every muscle to keep myself upright. I could have sworn I saw Max’s shoulders shudder.

The moon has two worlds beguiled, like parents clutching a child, pulling at her to and fro, neither willing to let go. when she is torn half in your sky, you see how far apart we lie. no matter how long we kiss, the space between us is not ripe for this. and when your moon is waxing full, all of faerie feels the pull. she draws us close to you, so bright. and now a visit for a night is easier than walking through a door or stepping off a ship that’s near a shore. twas thus while wandering in the wild, you found Felurian, manning child. there are a thousand half-cracked doors that lead between my world and yours. while she is full you may still laugh, but know there is a darker half. a clever mortal fears the night without a hint of sweet moonlight. on such a night, each step you take might catch you in the dark moon’s wake, and pull you all unwitting into fae. where you will have no choice but to stay. I do this so you cannot help but hear. a wise man views a moonless night with fear.

A Spanish word for existential anxiety and deep gloom, zozobra also evokes generalized wobbliness: “a mode of being that incessantly oscillates between two possibilities, between two affects, without knowing which one of those to depend on”—absurdity and gravity, danger and safety, death and life. Uranga writes, “In this to and fro the soul suffers, it feels torn and wounded.

My mother is distraught, my brother and fiancé are enemies… the family is being torn apart, all because of…” She stopped and buried her face in her hands, on the verge of frustrated tears. “Because of what?” Holly prompted softly. Elizabeth glanced through her fingers, dark gaze glimmering. “Well,” she mumbled, “I suppose I was going to say ‘because of you,’ although that sounds like an accusation, and I certainly don't mean it that way. But my lady, it's a fact that Zach changed when you left. I suppose I was too self-absorbed to notice what was happening between the two of you, but now I realize… my brother fell in love with you, didn't he? And you wouldn't have him. I know you must have had good reason for leaving us, you're so clever and wise, and you must—” “No, Lizzie,” Holly managed to whisper. “I'm not clever or wise, not in the least.” “—and I know you're accustomed to a very different sort of man than Zach, which is why I would never dare presume that you might care for him in the same way. But I have come here to ask you something.” Elizabeth bent her head and blotted a few leaking tears with her sleeve. “Please go to him,” she said huskily. “Talk to him, say something to bring him to his senses. I've never seen him behave like this. And I think you may be the only person in the world he might listen to. Just make him reasonable again. If you don't, he's going to ruin himself and drive away everyone who cares for him.

Torn between two worlds—the one in front of her and the one in her head that she was continually trying to uncover.

Lace/Veils: Marriage/weddings Murky colors: Trauma Ribbon: Cancer Straight line: Closure, stability, peace Torn lace: Divorce White roses: Forgiveness and closure Window: Perspective, mental clarity

One of Padar’s proverbs came to mind: “One cannot exist with a heart torn in half between two loves, two decisions, or two worlds, because it will eventually break in two.

The first time I see him is during lunch. As I’m waiting in the cafeteria food line, Alex is two people in front of me. This girl, Nola Linn, is in between us. And she’s not moving down the line fast enough. Alex’s jeans are faded and torn at the knee. His hair is falling into his eyes and I’m itching to push it back. If Nola wouldn’t be so wishy-washy about her choice of fruit… Alex caught me checking him out. I quickly focus my attention on the soup of the day. Minestrone. “Want a cup or bowl, hon?” Mary, the lunch lady, asks me. “Bowl,” I say, pretending to be totally interested in the way she ladles the soup into the bowl. After she hands it to me, I hurry past Nola and stand by the cashier. Right behind Alex. As if he knows I’m stalking him, he turns around. His eyes pierce mine and for a moment I feel as if the rest of the world is closed out and it’s just the two of us. The urge to jump into his arms and feel the warmth of them surrounding me is so powerful, I wonder if it’s medically possible to be addicted to another human being. I clear my throat. “Your turn,” I say, motioning to the cashier. He moves forward with his tray, a slice of pizza on it. “I’ll pay for hers, too,” he says, pointing at me. The cashier waves her finger at me, “What’d you get? Bowl of minestrone?” “Yeah, but…Alex, don’t pay for me.” “Don’t worry. I can afford a bowl of soup,” he says defensively, handing over three dollars. Colin barges into the line and stands next to me. “Move along. Get your own girlfriend to stare at,” he snaps at Alex, then shoos him off. I pray Alex doesn’t retaliate by telling Colin we kissed. Everyone in line is watching us. I can feel their stares on the back of my neck. Alex takes his change from the cashier and without a backward glance heads for the outside courtyard off the cafeteria where he usually sits. I feel so selfish, because I want the best of both worlds. I want to keep the image I’ve worked so hard to create. That image includes Colin. I also want Alex. I can’t stop thinking about having him hold me again and kiss me until I’m breathless. Colin says to the cashier, “I’ll pay for hers and mine.” The cashier looks at me in confusion. “Didn’t that other boy pay for you already?” Colin waits for me to correct her. When I don’t, he gives me a disgusted look and stomps out of the cafeteria.

DURING THE RIDE back up to Telluride, among tablelands and cañons and red-rock debris, past the stone farmhouses and fruit orchards and Mormon spreads of the McElmo, below ruins haunted by an ancient people whose name no one knew, circular towers and cliffside towns abandoned centuries ago for reasons no one would speak of, Reef was able finally to think it through. If Webb had always been the Kieselguhr Kid, well, shouldn’t somebody ought to carry on the family business—you might say, become the Kid? It might’ve been the lack of sleep, the sheer relief of getting clear of Jeshimon, but Reef began to feel some new presence inside him, growing, inflating—gravid with what it seemed he must become, he found excuses to leave the trail now and then and set off a stick or two from the case of dynamite he had stolen from the stone powder-house at some mine. Each explosion was like the text of another sermon, preached in the voice of the thunder by some faceless but unrelenting desert prophesier who was coming more and more to ride herd on his thoughts. Now and then he creaked around in the saddle, as if seeking agreement or clarification from Webb’s blank eyes or the rictus of what would soon be a skull’s mouth. “Just getting cranked up,” he told Webb. “Expressing myself.” Back in Jeshimon he had thought that he could not bear this, but with each explosion, each night in his bedroll with the damaged and redolent corpse carefully unroped and laid on the ground beside him, he found it was easier, something he looked forward to all the alkaline day, more talk than he’d ever had with Webb alive, whistled over by the ghosts of Aztlán, entering a passage of austerity and discipline, as if undergoing down here in the world Webb’s change of status wherever he was now. . . . He had brought with him a dime novel, one of the Chums of Chance series, The Chums of Chance at the Ends of the Earth, and for a while each night he sat in the firelight and read to himself but soon found he was reading out loud to his father’s corpse, like a bedtime story, something to ease Webb’s passage into the dreamland of his death. Reef had had the book for years. He’d come across it, already dog-eared, scribbled in, torn and stained from a number of sources, including blood, while languishing in the county lockup at Socorro, New Mexico, on a charge of running a game of chance without a license. The cover showed an athletic young man (it seemed to be the fearless Lindsay Noseworth) hanging off a ballast line of an ascending airship of futuristic design, trading shots with a bestially rendered gang of Eskimos below. Reef began to read, and soon, whatever “soon” meant, became aware that he was reading in the dark, lights-out having occurred sometime, near as he could tell, between the North Cape and Franz Josef Land. As soon as he noticed the absence of light, of course, he could no longer see to read and, reluctantly, having marked his place, turned in for the night without considering any of this too odd. For the next couple of days he enjoyed a sort of dual existence, both in Socorro and at the Pole. Cellmates came and went, the Sheriff looked in from time to time, perplexed.

I sometimes find myself torn between two options, and it’s clear to me that the stakes are high, but it’s not at all clear which option is better. So I keep agonizing over the choice, Ping-Ponging back and forth between my options, even though I’m not getting any new information. Fortunately, at some point in this process, I remember this principle: Uncertainty over expected value (EV) just gets folded into EV. So, if I know that one of option A or B is going to be great, and the other’s going to be a disaster, but I’m totally unsure which is which, then they have the same expected value.

painting, the world over, has struck a varied balance between the symbolic and realism. However, in the fifteenth century Western painting began to turn from its age-old concern with spiritual realities expressed in the form proper to it, towards an effort to combine this spiritual expression with as complete an imitation as possible of the outside world. The decisive moment undoubtedly came with the discovery of the first scientific and already, in a sense, mechanical system of reproduction, namely, perspective: the camera obscura of Da Vinci foreshadowed the camera of Niepce. The artist was now in a position to create the illusion of three-dimensional space within which things appeared to exist as our eyes in reality see them. Thenceforth painting was torn between two ambitions: one, primarily aesthetic, namely the expression of spiritual reality wherein the symbol transcended its model; the other, purely psychological, namely the duplication of the world outside. The satisfaction of this appetite for illusion merely served to increase it till, bit by bit, it consumed the plastic arts. However, since perspective had only solved the problem of form and not of movement, realism was forced to continue the search for some way of giving dramatic expression to the moment, a kind of psychic fourth dimension that could suggest life in the tortured immobility of baroque art.a The

The two-world hypothesis: We are citizens of two, coincidental worlds; a physical world, that is open to the eyes of its inhabitants and an ethereal world that is only visible to a very few gifted individuals. The physical world is finite, in that it is limited to the materials created in the Big Bang, whereas the ethereal world in infinite. Both worlds can act upon each other.

This is why we say the petty bourgeoisie is constantly torn between two interests. It has two books. On the one hand Karl Marx's Capital, on the other a checkbook. It wavers: Che Guevara or Onassis? They have to choose.