Trapped Book Quotes

Because I'm the kind of girl who fantasizes about being trapped in a library overnight.

By now, it is probably very late at night, and you have stayed up to read this book when you should have gone to sleep. If this is the case, then I commend you for falling into my trap. It is a writer's greatest pleasure to hear that someone was kept up until the unholy hours of the morning reading one of his books. It goes back to authors being terrible people who delight in the suffering of others. Plus, we get a kickback from the caffeine industry...

One reads books in order to gain the privilege of living more than one life. People who don't read are trapped in a mine shaft, even if they think the sun is shining.

If you want to write a fantasy story with Norse gods, sentient robots, and telepathic dinosaurs, you can do just that. Want to throw in a vampire and a lesbian unicorn while you're at it? Go ahead. Nothing's off limits. But the endless possibility of the genre is a trap. It's easy to get distracted by the glittering props available to you and forget what you're supposed to be doing: telling a good story. Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.

I thought that it was more likely the opposite. I must have shut grief out. Found it in books. Cried over fiction instead of the truth. The truth was unconfined, unadorned. There was no poetic language to it, no yellow butterflies, no epic floods. There wasn't a town trapped underwater or generations of men with the same name destined to make the same mistakes. The truth was vast enough to drown in.

When you drop a glass or a plate to the ground it makes a loud crashing sound. When a window shatters a table leg breaks or when a picture falls off the wall it makes a noise. But as for your heart when that breaks it s completely silent. You would think as it s so important it would make the loudest noise in the whole world or even have some ... Read Moresort of ceremonious sound like the gong of a cymbal or the ringing of a bell. But it s silent and you almost wish there was a noise to distract you from the pain. If there is a noise it s internal. It screams and no one can hear it but you. It screams so loud your ears ring and your head aches. It trashes around in your chest like a great white shark caught in the sea it roars like a mother bear whose cub has been taken. That s what it looks like and that s what it sounds like a trashing panicking trapped great big beast roaring like a prisoner to its own emotions. But that s the thing about love no one is untouchable.

Teddy grinned again. 'Truths are dangerous,' he said. -'Then why are you writing them in a book?' -'To catch them between the pages,' said Teddy, 'and trap them before they disappear.' -'If they're dangerous, why not let them disappear?' -'Because when truths disappear, they leave behind blank spaces, and that is also dangerous.

So long as there are still books on the shelves, you are never trapped. Every book is a potential escape.

The real purpose of books is to trap the mind into doing its own thinking.

She was a complicated woman living a complex life. Art theft and forgery, an estranged uncle, and a murdered, homosexual husband. Alec was used to war, politics, natural disasters – tangible stories without too much mystery. He wondered if he was capable of writing a story with so much passion going on.

His mouth went dry and for a split second he had a metallic taste on the sides of his tongue. He stood, turned, and gulped. A vision had appeared from somewhere. Was she real? She was tall, with long, glossy light-gold hair surrounding a perfectly shaped face. The front of her silk white robe was open down to a delightful cleavage where a long silver cross hung. As she walked slowly past Alec to sit at the desk, the robe parted for a fleeting glimpse of her leg. A scent of lily of the valley meandered over him. A hand with long graceful fingers indicated for him to sit again in his chair. She was real! She was, without doubt, the most beautiful woman Alec had ever seen.

Charlotte had been surrounded by men most of her adult life. Only one attracted her, only one had she fallen in love with – and he turned out to be cruel and broke her heart. But he was dead. She had killed him. He was a Nazi, an SS officer, dashing and charismatic … an evil person.

Do you know where Jean de Tournet is?” Jason asked. “He is dead, Uncle,” Charlotte said flatly. “How do you know?” “I killed him in 1943. He was doing business with the Nazis. He tried to rape me” – she stopped and shivered – “but I killed him before he could.” Jason and Sophie both looked at Charlotte with horror. This was the first time Jason had showed any genuine emotion throughout the evening. It was fear.

A piece of writing is a trap,” he said cheerily, “and the best kind. A book, you see, is the only kind of trap that keeps its captive—which is knowledge—alive forever.

Fiction can show you a different world. It can take you somewhere you've never been. Once you've visited other worlds, like those who ate fairy fruit, you can never be entirely content with the world that you grew up in. Discontent is a good thing: discontented people can modify and improve their worlds, leave them better, leave them different. And while we're on the subject, I'd like to say a few words about escapism. I hear the term bandied about as if it's a bad thing. As if "escapist" fiction is a cheap opiate used by the muddled and the foolish and the deluded, and the only fiction that is worthy, for adults or for children, is mimetic fiction, mirroring the worst of the world the reader finds herself in. If you were trapped in an impossible situation, in an unpleasant place, with people who meant you ill, and someone offered you a temporary escape, why wouldn't you take it? And escapist fiction is just that: fiction that opens a door, shows the sunlight outside, gives you a place to go where you are in control, are with people you want to be with(and books are real places, make no mistake about that); and more importantly, during your escape, books can also give you knowledge about the world and your predicament, give you weapons, give you armour: real things you can take back into your prison. Skills and knowledge and tools you can use to escape for real. As JRR Tolkien reminded us, the only people who inveigh against escape are jailers.

Christ, I feel like a naughty schoolboy again,” said Alec as they walked into King’s Bench Walk. “We have just had a dressing-down by the headmaster. Strider could easily be a man handy with a cane.” “That man Strider is a crook,” said Bing-Wallace. “His utterances are like the product of a performance of Joseph Pujol … Le Pétomane!” “Who is Joseph Pujol?” “He is a well-known French flatulist performer.” “What?” Alec stopped dead, “A fartist, dear boy, a performer of farts.” Bing-Wallace began to giggle, as did Alec.

It’s just that you go so crazy being alone like that. Sometimes he’d forget my water or food and I’d cry and cry and cry.” She stops talking and looks out the window. “I would try to tell myself stories to pass the time. Fairy tales. Parts of books. But they got used up.

But books are curious objects. They have the power to trap, transport, and even transform you if you are lucky.

What do you mean, a goddess?” Alec questioned irritably. “She’s staggeringly beautiful, wonderful, a vision of …” He petered out when he saw Alec looking at him strangely. Father Joe stroked his beard in thought, nervously eyeing Alec and then casting his eyes to the fireplace. Alec was beginning to sense Father Joe was regretting coming to his flat. He was also thinking that he regretted having anything to do with the vicar. He was quite mad … possibly.

We’ve got to go to the police,” Alec repeated. He wondered if somebody was actually dead or if the vicar had imagined it. But then there was the bloody cassock. “Come with me,” Father Joe pleaded. “It’s just down the road in my vestry. And then we can decide what we should do about the police.” Alec thought he might as well. There might be a story in it if it was something to do with Charlotte de Tournet. Would people remember her disappearance? It was so long ago. But then there was the connection to Baroness Freya Saumures …

The interior drama, therefore, is always the important one. The “story of your life” is written by you, by each reader of this book. You are the author. There is no reason, therefore, for you to view the drama and feel trapped by it. The power to change your own condition is your own. You have only to exercise it.

Edward had once felt that a vineyard rolling up a mountainside over which the sun was setting was the most glorious thing he’d ever seen, but now that memory paled in comparison to the transcendent garden of life bursting forth down below.

Your partner may have injuries that you can't repair. Your partner may be trapped in a dark room without windows. Your life narrative might bring him more relief than an opiate. Some people make better windows than windows. Your kind words and enlightened perspective is a window of wonders to someone living in pain.

Theodora was able to reflect on the events of the past few hours. Her headache had gone, and she felt a lot better after a brandy, a bath and a clean set of clothes. As she smoked her cigarette, and feeling a little more normal, she played back the horror of what had happened in Sussex. Watching the murder of her close friends, the horrendous way they had died … How was she going to tell Charlotte? Not only about the slaying of Christina and Bernard, but also that Jost Krupp was responsible – not just for the murders of Christine and Bernard, but also, it seemed, for Ferdi. And to crown it all, that he was still alive! Charlotte was convinced she had killed him in Auch in 1943.

Knowledge, you may get from books but wisdom is trapped within you, release it.

Do you know who I am?" she demanded. "Well, you're Night, I suppose," said Annabeth. "I mean, I can tell because you're dark and everything, though the brochure didn't say much about you." Nyx's eyes winked out for a moment. "What brochure?" Annabeth patted her pockets. "We had one, didn't we?" Percy licked his lips. "Uh-huh." He was still watching the horses, his hand tight on his sword hilt, but he was smart enough to follow Annabeth's lead. [...] "Anyway," she said, "I guess the brochure didn't say much, because you weren't spotlighted on the tour. We got to see the River Phlegethon, the Cocytus, the arai, the poison glade of Akhlys, even some random Titans and giants, but Nyx...hmm, no you weren't really featured." "Featured? Spotlighted?" "Yeah," Percy said, warming up to the idea. "We came down here for the Tartarus tour--like, exotic destinations, you know? The Underworld is overdone. Mount Olympus is a tourist trap--" "Gods, totally!" Annabeth agreed. "So we booked the Tartarus excursion, but no one even mentioned we'd run into Nyx. Huh. Oh, well. Guess they didn't think you were important.

But you cannot endure this world alone, and the more Samuel’s written his book, the more he’s realized how wrong he was. Because if you see people as enemies or obstacles or traps, you will be at constant war with them and with yourself. Whereas if you choose to see people as puzzles, and if you see yourself as a puzzle, then you will be constantly delighted, because eventually, if you dig deep enough into anybody, if you really look under the hood of someone’s life, you will find something familiar.

The reading area was a beautifully crafted trap set by the librarians, but it was too perfect. Even the dumbest book lover—and anyone who would regularly choose to come in contact with books could not be a bright bulb, Jackie thought—wouldn’t fall for this.

Any explanation or logic that explains everything so easily has a hidden trap in it. I'm speaking from experience. Somebody once said if it's something a single book can explain, it's not worth having explained. What I mean is don't leap to any conclusions.

But books are curious objects. They have the power to trap, transport, and even transform you if you are lucky. But in the end, books—even magic ones—are only objects pieced together from paper and glue and thread. That was the fundamental truth the readers forgot. How vulnerable the book really was. To fire. To the damp. To the passage of time. And to theft.

Every person is trapped in their own particular bubble of delusion, and it's every person's task in life to break free. Books can help. We can make the past into the present, take you back in time and help you remember. We can show you things, shift your realities and widen your world, but the work of waking up is up to you.

If a man can hear the truth he's spoken twisted by knaves to make a trap for fools..........

The purpose of a fish trap is to catch fish, and when the fish are caught, the trap is forgotten. The purpose of words is to convey ideas. When the ideas are grasped, the words are forgotten. Where can I find a man who has forgotten the words, so that I can talk to him?

She turned and walked towards Krupp. She moved like smoke from the end of a cigarette in a still room, languorous, smooth. Her beauty stopped the conversation of the few people she walked past. Eyes of envy, lust, admiration, longing, followed her every move as she glided through the sumptuously furnished, dimly lit Champagne Bar. Krupp realised she was moving through the room deliberately towards him. He held his breath again as she approached him. His heart thumped against his lungs, making it hard to breathe out. Krupp sat up and he gulped when she saw him and looked straight into his eyes. He felt a tingle up his spine as she seemed to float, slowly, like a ghostly spirit between the tables. He wondered if she was real or a spectre. This could not possibly be Freya, he thought, and yet there was something … She arrived at the table. She relaxed a knee. Their eyes met, a small smile on her lips. Krupp suddenly remembered his manners and stood, hauling himself up with the aid of his stick and the arm of the sofa. It could not have been an elegant move, he thought with annoyance. He should have remained seated. “May I join you?” she said in perfect German.

All night long Alec sat in his chair in his pyjamas and dressing gown, socks on his feet to keep out the cold, a cigarette in his fingers with a long ash hovering over a half-full ashtray. He attempted to go to bed but the incident with Father Joe kept his mind in turmoil. This girl, well, woman now – she would be around thirty – was a mystery during the war. She was kidnapped, it was thought, from her school, the day the Germans entered Paris. Her uncle, Sir Jason Barrett MP, was in England; her step-parents were somewhere else in France, on holiday, and found they could not get back; and Charlotte was being cared for by a Swedish couple, a nanny or housekeeper and her chauffeur husband. Was Charlotte actually Freya? What had this baron fellow to do with Freya, apart from marrying her? Had she been a prostitute? And what was the old cleric babbling on about “finding her and protecting her”? From whom?

Edward reached out with his arms and embraced her, his heart filled with a mix of sadness and hope. He desperately wanted to believe her promise and hold on to her vow that they would be reunited soon. Still, young Edward’s life had been so full of disappointment that it was hard for him to believe his unfortunate circumstances might soon be ending. He clung to her, wishing she would never let him go.

I would write you into immortality. I would trap you in ink and wear the pages next to my skin until they fell apart. Kiss me until I know you. Kiss me until you know me, unmake me, and love me anyway.

Sometimes you’re 23 and standing in the kitchen of your house making breakfast and brewing coffee and listening to music that for some reason is really getting to your heart. You’re just standing there thinking about going to work and picking up your dry cleaning. And also more exciting things like books you’re reading and trips you plan on taking and relationships that are springing into existence. Or fading from your memory, which is far less exciting. And suddenly you just don’t feel at home in your skin or in your house and you just want home but “Mom’s” probably wouldn’t feel like home anymore either. There used to be the comfort of a number in your phone and ears that listened every day and arms that were never for anyone else. But just to calm you down when you started feeling trapped in a five-minute period where nostalgia is too much and thoughts of this person you are feel foreign. When you realize that you’ll never be this young again but this is the first time you’ve ever been this old. When you can’t remember how you got from sixteen to here and all the same feel like sixteen is just as much of a stranger to you now. The song is over. The coffee’s done. You’re going to breath in and out. You’re going to be fine in about five minutes.

I still remember the day my father took me to the Cemetery of Forgotten Books for the first time. It was the early summer of 1945, and we walked through the streets of a Barcelona trapped beneath ashen skies as dawn poured over Rambla de Santa Monica in a wreath of liquid copper.

The Times 2 July 1952 WAS BRITISH BARONESS WORKING FOR THE NAZIS IN PARIS? By Philip Bing-Wallace It was alleged that Baroness Freya Saumures (who claimed to be of Swedish descent but is a British subject) was one of the many women that entertained the Gestapo and SS during the occupation of Paris, a jury was told. At the baroness’s trial today, the Old Bailey heard Daniel Merrick-James QC, prosecuting council, astonish the jury by revealing that Baroness Freya Saumures allegedly worked with the Nazis throughout the Nazi occupation of Paris. There was a photograph of a woman in a headscarf and dark glasses, alongside a tall dark-haired man who had a protective arm around her, his face shielded by his hand. A description beneath the image read: Baroness Saumures with her husband, Baron Ferdinand Saumures, outside the Old Bailey after her acquittal. Alec could not see her face fully, but the picture of the baron, even partially obscured, certainly looked very like the man lying dead in the Battersea Park Road crypt. Alec read on. When Mr Merrick-James sat, a clerk of the court handed the judge, Justice Henry Folks, a note. The judge then asked the court to be cleared. Twenty minutes later, the court was reconvened. Justice Folks announced to the jury that the prosecution had dropped all charges and that Lady Saumures was acquitted. There was no explanation for the acquittal. The jury was dismissed with thanks. Neither Baron nor Baroness Saumures had any comment. Baron and Baroness Saumures live in West Sussex and are well known to a select group for their musical evenings and events. They are also well known for protecting their privacy. Alec rummaged on. It was getting close to lunchtime and his head was beginning to ache.

Papa!” she whispered. “I have no eyes!” He patted the girl’s hair. She’d fallen into his trap. “With a smile like that,” Hans Hubermann said, “you don’t need eyes.

According to the evidence provided by the Wasp Trap files, the Fleet Street newspaper proprietor was introduced to, among other prominent Nazis, Hitler’s architect, Albert Speer, in 1934. Speer was also Hitler’s closest military adviser just before the war. Evidence from a letter allegedly from Speer to the Fleet Street newspaper proprietor, thanking him for information about the Paris defences and the Free French army. A photograph of a letter allegedly from the Fleet Street proprietor, also included in these discovered files, advises Force Yellow – the German invading army – to avoid the Maginot line entirely and invade through neutral Belgium and the other Low Countries. There is no evidence that totally confirms these letters are genuine, or, indeed, from Speer or the Fleet Street newspaper proprietor. “In June 1940, when the Nazis occupied Paris, the Fleet Street newspaper proprietor was back in London and became liaison executive between the secret services in Britain and agents in France. It is possibly no coincidence that the invading Nazi forces occupied a house in Avenue Foch, Paris, owned by the newspaper proprietor’s family. The house was then used for the entertainment of senior Nazi officers. The Wasp Trap files document that the Fleet Street newspaper proprietor had allegedly been credited with over thirty British agents and Free French operatives being captured, tortured and killed.

Let's leave it for tonight. Is it a decent hour for two middle-aged people to go to bed?' He held out his hand for her. Half an hour later he exclaimed, 'My God, where did you learn that?' 'I read a book once,' she answered. 'Thank God for literate women,' he said fervently.

The despair in books was a distant, safe thing. She'd thought she understood the depth of the emotion as she read through the pages of her beloved books, her life touching those of men and women long dead. She's felt for them, cried for them, tried to breathe for them when they no longer breathed. And then, she'd been able to close the book and place it on its shelf, the word trapped between the leather covers. Oh, sometimes it had taken her hours or days to recover from a particularly emotional book, but there'd always be another to take her mind off the anguish. There were no books here.

He did not know, and perhaps this doctor did. And he could not take the chance of pitting his certain ignorance against this man's possible knowledge. He was trapped as his people were always trapped, and would be until, as he had said, they could be sure that the things in the books ere really in the books.

I don’t have any pictures of the lovely Aboriginal people I met because they think it traps their spirit, and if they’re correct then Facebook is basically creating a living hell. Which is really not that surprising, now that I say it out loud.

Some day you will look back on these days as the happiest of your life. You will forget your financial struggles. You will forget the unfair division of duties. You will forget feeling trapped and smothered, imagining that you are in a loveless marriage. You will only remember the joy of a young family, working together making your way through an unfamiliar world. Appreciate what you have now. pg vi

Keep quiet and the enemy will reveal himself.

I have found so many angels trapped inside undisputed jargon that I find myself digging at the words, in order to release them, from the books that unfairly captured their soul.

Compassion. Love. It was not civilization that birthed these gentle gifts - though its followers might claim otherwise. Nor was civilization the sweetest garden for such things to blossom in - though those trapped within it might imagine it so. No, as far as [Karsa] could see, civilization was a madman's mechanism that, for all its good intentions, ended up ensnaring the gentle gifts, stifling them, leaving them to wander mazes only to die alone and in the dark.

Falling into the trap of self-pity will get you no where in life. It's sorrowful endless cycle will keep you from reaching your goals. Everyone has a sad story but not everyone allows it to restrain them. Let life's hardships fuel you to success instead of holding you back. Start controlling your life or it will control you! 

An anxiety for being me, forever trapped in myself, floods my whole being without finding a way out, shaping me into tenderness, fear, sorrow and desolation. An inexplicable surfeit of absurd grief, a sorrow so lonely, so bereft, so metaphysically mine...

She felt like a fictional character who'd escaped the book in which her creator had carefully and kindly trapped her, taken a pair of scissors to her outline and leaped, free...

And maybe that 'something' is a piece of my stupid little soul trapped in a book with very divisive reviews on Goodreads!

If he can't get to the clock, any idea how we deal with this lot?" "With great care," Donegan suggested. "How about we run off shout and they follow?" Said Gracious. "Then, just when they think they've caught us they fall into our trap." "OK," said Tanith. "And that trap would be?" "A big hole we'd dug earlier and covered with branches.' Tanith frowned. "I thought you were meant to be smart." Gracious frowned back at her. "Who told you that?" "Gracious is book smart," said Donegan. "He leaves the real world thinking to people like you and me and small dogs that he meets." "The innocent are often the wisest.

Mierda.” José screeched to a halt, and reversed to start a three-point turn – of which points two and three never materialised as, looking back, the road from where we’d come was now filled side-to-side by an advancing column of police, some with riot shields, some on horseback, marching towards us. José decided, quite reasonably in my opinion, that this wasn’t a place to be trapped so his passenger could try out his Spanish with the Venezuelan Riot Police. His solution – drive straight ahead at a tangent to the road, across a vast stretch of wasteland.

I guessed she must be, at most, twenty, but there was something about her manner that made me think she could be ageless. She seemed trapped in that state of perpetual youth reserved for mannequins in shop windows.

Things look familiar: the high shelves full of books, jars of green tea, dried flowers—also for tea, big rocks, and crystals that emit strong prana and light. The light trapped inside the crystals makes them brighter, stunning against the dark background of the wooden floor and ceiling.

The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don't like 'em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in 'em, 'cause that's cool. Guys who like military hardware, who think advanced military hardware is cool, are not gonna jump all over my books, because they have other ideas about what's cool. The novel should be understood as a structure built to accommodate the greatest possible amount of cool stuff.

From the Titans?’ Nā-maka-o-Kaha‘i laughed. ‘Pele told me, but I know it’s a trick – a foolish trap designed by my sister to contain me within the Olympian spring waters filling the Diamond Head

I realized at that moment - observing his form move further away without once turning back - that I’d already begun to rebuild the imaginary wall between us. I was shielding my heart with stone cold feelings again, the only way I knew to protect it. I still planned to try my hand at prayer. If God would grant me this one request, if I could keep my only friend, I would give anything in return, even the treasured books trapped beneath my arm. I’d tasted enough of a dismal life to know that a real, true friend was of greater worth than the collection of every imagined fairy tale in the world.

Traveling through the Dragon's Den, it has just been explained that Haroun, the Ifrit, has been caught in a mirror trap. Here is the passage that follows: "So," said Silas. "Now there are only three of us." "And a pig," said Kandar [the mummy] "Why?" Asked Miss Lupescu, with a wolf-tongue, through wolf teeth. "Why the Pig?" "It's lucky," said Kandar. Miss Lupescu growled, unconvinced. "Did Haroun have a pig?" asked Kandar, simply.

I wonder if my watching him from the armchair is what it's like to be God, if there is a God. He sits back and sees the big picture, just as I could see that if the bluebottle just moved up a few inches, he'd be free. He wasn't really trapped at all, he was just looking in the wrong place. I wondered if God could see a way out for me and Mum. If I can see the open window for the bluebottle, maybe God can see the tomorrows for me and Mum. That idea brings me comfort. Well, it did, until I left the room and returned a few hours later to see a dead bluebottle on the windowsill. Then to show you where my mind is right now, I started crying...Then I got mad at God because in my head the death of that bluebottle meant Mum and I might never find our way out of this mess. What good is it being so far back you can see everything and yet not do anything to help? Then I realized this: I had tried to help the bluebottle, but it wouldn't let me. And then I felt sorry for God because i understood how it must be frustrating for him. He offers people a helping hand, but it often gets pushed away. People always want to help themselves first.

Life on the streets is short. People look at you in disgust, even the ones who give you alms, but this is nothing compared to the revulsion you feel for yourself. It's like being trapped in a walking corpse, a corpse that's hungry, stinks, and refuses to die.

Artistic style is only a means to an end, and the more styles you have, the better. To get trapped in a style is to lose all flexibility. If you have only one style, then you’re going to do the same book over and over, which is pretty dull. Lots of styles permit you to walk in and out of books. So, develop a fine style, a fat style, and fairly slim style, and a really rough style. As an aspiring artist, you should strive for originality of vision. Have something to say and a fresh way of saying it. No story is worth the writing, no picture worth the making, if it’s not the work of the imagination.

Dorian looked down at the book. "This isn't one of the books that I sent you! I don't even own books like these!" She laughed weakly and took the tea from the servant as she approached. "Of course you don't, Dorian. I had the maids send for a copy today." "Sunset's Passions," he read, and opened the book to a random page to read aloud. "'His hands gently caressed her ivory, silky br-'" His eyes widened. "By the Wyrd! Do you actually read this rubbish? What happened to Symbols and Power and Eyllwe Customs and Culture?" She finished her drink, the ginger tea easing her stomach. "You may borrow it when I'm done. If you read it, you literary experience will be complete. And," she added with a coy smile, "it will give you some creative ideas of things to do with your lady friends." He hissed through his teeth. "I will not read this." She took the book from his hands, leaning back. "Then I suppose you're just like Chaol." "Chaol?" he asked, falling into the trap. "You asked Chaol to read this?" "He refused, of course," she lied. "He said it wasn't right for him to read this sort of material if I gave it to him." Dorian snatched the book from her hands. "Give me that, you demon-woman. I'll not have you matching us against each other." He glanced once more at the novel, then turned it over, concealing the title. She smiled, and resumed watching the falling snow.

Truths are dangerous," he said. "Then why are you writing them in a book?" "To catch them between the pages," said Teddy, "and trap them before they disappear." "If they're dangerous, why not let them disappear? "Because when truths disappear, they leave behind blank spaces, and that is also dangerous.

For many years I paced around my cage, my dreams filled with murder and revenge. Until the day when the solution finally presented itself to me, like something that was completely obvious: Why not ensnare the hunter in his own trap, ambush him within the pages of a book?

By now it is probably very late at night, and you have stayed up to read this book when you should have gone to sleep. If this is the case, then I commend you for falling into my trap. It is a writer’s greatest pleasure to hear that someone was kept up until the unholy hours of the morning reading one of his books. It

Never before had I felt trapped, so seduced and caught up in a story,' Clara explained, 'the way I did with that book. Until then, reading was just a duty, a sort of fine one had to pay teachers and tutors without quite knowing why. I had never known the pleasure of reading, of exploring the recesses of the soul, of letting myself be carried away by imagination, beauty, and the mystery of fiction and language. For me all those things were born with that novel. This is a world of shadows, Daniel, and magic is a rare asset. That book taught me that by reading, I could live more intensely. It could give me back the sight I had lost. For that reason alone, a book that didn't matter to anyone, changed my life.

Akela, the great gray Lone Wolf, who led all the Pack by strength and cunning, lay out at full length on his rock, and below him sat forty or more wolves of every size and color, from badger-colored veterans who could handle a buck alone, to young black three-year-olds who thought they could. The Lone Wolf had led them for a year now. He had fallen twice into a wolf-trap in his youth, and once he had been beaten and left for dead; so he knew the manners and customs of men.

While I generally find that great myths are great precisely because they represent and embody great universal truths (and will explore several such myths later in this book), the myth of romantic love is a dreadful lie. Perhaps it is a necessary lie in that it ensures the survival of the species by its encouragement and seeming validation of the falling-in-love experience that traps us into marriage. But as a psychiatrist I weep in my heart almost daily for the ghastly confusion and suffering that this myth fosters. Millions of people waste vast amounts of energy desperately and futilely attempting to make the reality of their lives conform to the unreality of the myth.

I am not the only one who sometimes thinks I came from the pages of a book my father wrote. Maybe it’s like that for all boys of a certain —or uncertain— age: We feel as though there are no choices we’d made through all those miles and miles behind us that hadn’t been scripted by our fathers, and that our futures are only a matter of flipping the next page that was written ahead of us. I am not the only one who’s ever been trapped inside a book.

People don't read anymore. And, when they do, they don't read books like this one, but instead read books that depress them, because those books are seen as important. Somehow, the Librarians have successfully managed to convince most people in the Hushlands that they shouldn't read anything that isn't boring. It comes down to Biblioden the Scrivener's great vision for the world — a vision in which people never do anything abnormal, never dream, and never experience anything strange. His minions teach people to stop reading fun books, and instead focus on fantasy novels. That's what I call them, because these books keep people trapped. Keep them inside the nice little fantasy that they consider to be the 'real' world. A fantasy that tells them they don't need to try something new. After all, trying new things can be difficult.

In our current culture, we place a lot of emphasis on job description. Our obsession with the advice to “follow your passion” (the subject of my last book), for example, is motivated by the (flawed) idea that what matters most for your career satisfaction is the specifics of the job you choose. In this way of thinking, there are some rarified jobs that can be a source of satisfaction—perhaps working in a nonprofit or starting a software company—while all others are soulless and bland. The philosophy of Dreyfus and Kelly frees us from such traps. The craftsmen they cite don’t have rarified jobs. Throughout most of human history, to be a blacksmith or a wheelwright wasn’t glamorous. But this doesn’t matter, as the specifics of the work are irrelevant. The meaning uncovered by such efforts is due to the skill and appreciation inherent in craftsmanship—not the outcomes of their work.

To live a hard life was to make solid and impregnable every way in, until no openings remained and the soul hid in darkness, and no one else could hear its screams, its railing at injustice, its long, agonizing stretches of sadness. Hardness without created hardness within. Sadness was, she well knew, not something that could be cured. It was not, in fact, a failing, not a flaw, not an illness of spirit. Sadness was never without reason, and to assert that it marked some kind of dysfunction did little more than prove ignorance or, worse, cowardly evasiveness in the one making the assertion. As if happiness was the only legitimate way of being. As if those failing at it needed to be locked away, made soporific with medications; as if the causes of sadness were merely traps and pitfalls in the proper climb to blissful contentment, things to be edged round or bridged, or leapt across on wings of false elation. Scillara knew better. She had faced her own sadness often enough. Even when she discovered her first means of escaping it, in durhang, she’d known that such an escape was simply a flight from feelings that existed legitimately. She’d just been unable to permit herself any sympathy for such feelings, because to do so was to surrender to their truth. Sadness belonged. As rightful as joy, love, grief and fear. All conditions of being. Too often people mistook the sadness in others for self-pity, and in so doing revealed their own hardness of spirit, and more than a little malice.

This is why many liberals have fallen into the trap of seeing integration in merely aesthetic terms, where a token number of Negroes adds color to a white-dominated power structure. They say, “Our union is integrated from top to bottom, we even have one Negro on the executive board”; or “Our neighborhood is making great progress in integrated housing, we now have two Negro families”; or “Our university has no problem with integration, we have one Negro faculty member and even one Negro chairman of a department.

Never before had I felt trapped, so seduced and caught up in a story,' Clara explained, 'the way I did with that book. Until then, reading was just a duty, a sort of fine one had to pay teachers and tutors without quite knowing why. I had never known the pleasure of reading, of exploring the recesses of the soul, of letting myself be carried away by imagination, beauty, and the mystery of fiction and language. For me all those things were born with that novel.

I have begun in old age to understand just how oddly we all are put together. We are so proud of our autonomy that we seldom if ever realize how generous we are to ourselves, and just how stingy with others. One of the booby traps of freedom--which is bordered on all sides by isolation--is that we think so well of ourselves. I now see that I have helped myself to the best cuts at life's banquet.

Desire acts as a honey trap to the unwary male, luring him into unworthy and catastrophic enterprises. The beauty of the Narnian witches isn't ancillary to their evil, but integral to it, one of the weapons in their arsenal. Evil must, after all, appear attractive if it's going to be tempting, and from there it's only a small step further to the conclusion that feminine beauty is inherently wicked.

During your whole life you practiced every moment to become what you believe you are right now. You practiced until it became automatic. And when you start practicing something new, when you change what you believe you are, your whole life is going to change. If you practice being impeccable with your word, if you don’t take anything personally, if you don’t make assumptions, you are going to break thousands of agreements that keep you trapped in the dream of hell. Very soon, what you agree to believe will become the choice of your authentic self, not the choice of the image of yourself that you thought you were.

We have seen that a myth could never approached in a purely profane setting. It was only comprehensible in a liturgical context that set it apart from everyday life; it must be experienced as part of a process of personal transformation. None, of this surely applies to the novel, which can be read anywhere at all witout ritual trappings, and must, if it is any good, eschew the overtly didactic. Yet the experience of reading a novel has certain qualities that remind us of the mythology. It can be seen as a form of mediation. Readers have to live with a novel for days or even weeks. It prljects them into another worl, parallel to but apart from their ordinary lives. They know perfectly well that this fictional realm is not 'real' and yet while they are reading it becomes compelling. A powerful novel bcomes part of the backdrop of lives long after we have laid the book aside. It is an excercise of make-believe, that like yoga or a religious festival breaks down barriers of space and time and extends our sympathies to empathise with others lives and sorrows. It teaches compassion, the ability to 'feel with' others. And, like mythology , an important novel is transformative. If we allow it do so, can change us forever.

Lately she can read a novel in two hours. She has always been an avid reader, but these days she can read much faster. The colors, the conversations, everything is much more vibrant and inclusive, as if opening a book releases genies trapped inside. The scenes and people between their covers sometimes seem more vivid than real life, with their sunny, pearl-toothed characters, the witty conversation, the handsome stranger squeezed into a subway car or knocking about on the street. Sometimes, when she finishes a book at record speed, Dana feels a slight letdown, as if a good friend has hung up the phone in the middle of a conversation.

Scientists are dedicated to asking questions in the search for truth. But they too are human, and like all humans, they would like their answers to be clean and clear and easy. In their desire for simple solutions, scientists are prone to fall into two traps as they question the reality of God. The first is to throw the baby out with the bath water. And the second is tunnel vision. There is clearly a lot of dirty bath water surrounding the reality of God. Holy wars. Inquisitions. Animal sacrifice. Human sacrifice. Superstition. Stultification. Dogmatism. Ignorance. Hypocrisy. Self-righteousness. Rigidity. Cruelty. Book-burning. Witch-burning. Inhibition. Fear. Conformity. Morbid guilt. Insanity. The list is almost endless. But is all this what God has done to humans or what humans have done to God? It is abundantly evident that belief in God is often destructively dogmatic. Is the problem, then, that humans tend to believe in God, or is the problem that humans tend to be dogmatic?

An ancient-looking card table sat in the middle of the room, covered in maps and books. Man, give the Brannicks any space, and they’ll turn it into a War Room. Aislinn took her customary position on one side of the table. “Okay,” she said. “Tell us everything that’s happened.” Cal, Archer, Jenna, and I managed to achieve something truly impressive: the four-way glance. “It’s really complicated,” Jenna said at last. “We used a sixteenth-century warlock trapped in a mirror to tell you where we were,” Dad said dryly. “I think it’s safe to say we’re well-versed in ‘complicated’ by this point.” Archer gave a little laugh. “I like your dad,” he whispered in my ear. “You would,” I muttered back.

...Orlando, to whom fortune had given every gift--plate, linen, houses, men-servants, carpets, beds in profusion--had only to open a book for the whole vast accumulation to turn to mist. The nine acres of stone which were his house vanished; one hundred and fifty indoor servants disappeared; his eighty riding horses became invisible; it would take too long to count the carpets, sofas, trappings, china, plate, cruets, chafing dishes and other movables often of beaten gold, which evaporated like so much sea mist under the miasma. So it was, and Orlando would sit by himself, reading, a naked man.

Never before had I felt trapped, seduced, and caught up in a story,' Clara explained, 'the way I did with that book. Until then, reading was just a duty, a sort of fine one had to pay teachers and tutors without quite knowing why. I had never known the pleasure of reading, of exploring the recesses of the soul, of letting myself be carried away by imagination, beauty, and the mystery of fiction and language. For me all those things were born with that novel. Have you ever kissed a girl, Daniel?' My brain seized up; my saliva turned to sawdust. 'Well, you're still very young. But it's that same feeling, that first-time spark that you never forget. This is the world of shadows, Daniel, and magic is a rare asset. That book taught me that by reading, I could live more intensely. It could give me back the sight I had lost. For that reason alone, a book that didn't matter to anyone changed my life.

The allure of unthinking animal bliss is powerful; it always calls to us, in the same way as the edge of a cliff or the waves of the ocean: Jump. It is a necessary part of our natures, full of delight and danger in equal measure. Yet to the mind trained in language, taught to spy subtleties and take joy in them, such crude, baser matters can pale after a while. But there lies grave peril also: The propensity to empathize with pain expressed in words encourages a poet to avoid the real thing, and a too-passionate love of books can mew one in a cloister, putting up walls where there should be free range. I decided long ago—to keep myself sane amongst the illiterate and unthinking—that there would be poetry in my life. But there would also be fucking. I would have them both, but follow the sage advice of modern beer commercials and enjoy responsibly.

You hold in your hands a very special book. It contains one hundred carnival rides of terror. You must remember: horror can come from any direction. It can be as subtle as a spider web's caress, or as vicious as the drop of an axe blade. It can be grim as the reaper, or as sardonic as, well, Sardonicous. It can wear the garments of science or superstition; can be dressed in the trappings of fantasy or the fancy-free. But always it will terrify. And one of the bluntest of its instruments is the short-short story, one of the most difficult of literary devices to master. Not only must each word be perfect-but each comma and period. Nothing can be wasted. In the hands of master executioners, like the authors who fill this book-it can be deadly. So... Die-and die again- one hundred times...

Without ending sorrow there is no love. Sorrow is part of your self-interest, part of your egotistic, self-centred activity. You cry for another, for your son, for your brother, for your mother. Why? Because you have lost something that you are attached to, something which gave you companionship, comfort, and all the rest of it. With the ending of that person, you realize how utterly empty, how lonely your life is. Then you cry. And there are many, many people ready to comfort you, and you slip very easily into that network, that trap, of comfort. There is the comfort in God, which is an image put together by thought, or comfort in some illusory concept or idea. And that’s all you want. But you never question the very urge, the desire for comfort, never ask whether there is any comfort at all. One needs to have a comfortable bed or chair— that’s all right. But you never ask whether there is any comfort at all psychologically, inwardly. Is it an illusion which has become your truth? You understand? An illusion can become your truth— the illusion that you are God, that there is God. That God has been created by thought, by fear. If you had no fear, there would be no God. So this is a very complex problem of our life— why we are so shallow, empty, filled with other people’s knowledge and with books; why we are not independent, free human beings to find out; why we are slaves. This is not a rhetorical question; it is a question each one of us must ask. In the very asking and doubting, there comes freedom. And without freedom there is no sense of truth.

The Light and the Darkness both flow in to Delhi. Gurgaon, where Mr. Ashok lived, is the bright, modern end of the city, and this place. Old Delhi is the other end. Full of things that the modern world forget all about rickshaws, old stone buildings and Muslims. On a Sunday, though, there is something more: if you keep pushing through the crowd that is always there, go past the men clearing the other men’s ears by poking rusty metal rods into them, past the men selling small fish trapped in green bottles full of brine, past the cheap shoe market and the cheap shirt market, you come great secondhand book market Darya Ganj. You may have heard of this market, sir, since it is one of the wonders of the world. Tens of thousands of dirty, rotting, blackened books on every subject- Technology, Medicine, Sexual Pleasure, Philosophy, Education, and Foreign Countries — heaped upon the pavement from Delhi Gate onwards all the way until you get to the market in front of the Red Fort. Some books are so old they crumble when you touch them; some have silverfish feasting on them- some look like they were retrieved from a flood, or from a fire. Most shops on the pavement are shuttered down; but the restaurants are still open, and the smell of fried food mingles with the smell of rotting paper. Rusting exhaust fans turn slowly in the ventilators of the restaurants like the wings of giant moths. I went amid the books and sucked in the air; it was like oxygen after the stench of the brothel.

Pettiness often leads both to error and to the digging of a trap for oneself. Wondering (which I am sure he didn't) 'if by the 1990s [Hitchens] was morphing into someone I didn’t quite recognize”, Blumenthal recalls with horror the night that I 'gave' a farewell party for Martin Walker of the Guardian, and then didn't attend it because I wanted to be on television instead. This is easy: Martin had asked to use the fine lobby of my building for a farewell bash, and I'd set it up. People have quite often asked me to do that. My wife did the honors after Nightline told me that I’d have to come to New York if I wanted to abuse Mother Teresa and Princess Diana on the same show. Of all the people I know, Martin Walker and Sidney Blumenthal would have been the top two in recognizing that journalism and argument come first, and that there can be no hard feelings about it. How do I know this? Well, I have known Martin since Oxford. (He produced a book on Clinton, published in America as 'The President We Deserve'. He reprinted it in London, under the title, 'The President They Deserve'. I doffed my hat to that.) While Sidney—I can barely believe I am telling you this—once also solicited an invitation to hold his book party at my home. A few days later he called me back, to tell me that Martin Peretz, owner of the New Republic, had insisted on giving the party instead. I said, fine, no bones broken; no caterers ordered as yet. 'I don't think you quite get it,' he went on, after an honorable pause. 'That means you can't come to the party at all.' I knew that about my old foe Peretz: I didn't then know I knew it about Blumenthal. I also thought that it was just within the limit of the rules. I ask you to believe that I had buried this memory until this book came out, but also to believe that I won't be slandered and won't refrain—if motives or conduct are in question—from speculating about them in my turn.

You’re a product of our language”, Brandy says, “and how our laws are and how we believe our God wants us. Every bitty molecule about you has already been thought out by some million people before you” she says. “Anything you can do is boring and old and perfectly okay. You're safe because you're so trapped inside your culture. Anything you can conceive of is fine because you can conceive of it. You can’t imagine any way to escape. There’s no way you can get out […] And if you can find any way out of our culture, then that’s a trap, too. Just wanting to get out of the trap reinforces the trap”. The books on plastic surgery, the pamphlets and brochures all promised to help me live a more normal, happy life; but less and less, this looked like what I'd want. What I wanted looked more and more like what I'd always been trained to want. What everybody wants. Give me attention. Flash. Give me beauty. Flash. Give me peace and happiness, a loving relationship, and a perfect home. Flash. Brandy says, "The best way is not to fight it, just go. Don't be trying all the time to fix things. What you run from only stays with you longer. When you fight something, you only make it stronger." She says, "Don't do what you want." She says, "Do what you don't want. Do what you're trained not to want." It's the opposite of following your bliss. Brandy tells me, "Do the things that scare you the most”.

The economic system is filled with trickery, and everyone needs to know that. We all have to navigate this system in order to maintain our dignity and integrity, and we all have to find inspiration to go on despite craziness all around us. We wrote this book for consumers, who need to be vigilant against a multitude of tricks played on them. We wrote it for businesspeople, who feel depressed at the cynicism of some of their colleagues and trapped into following suit out of economic necessity. We wrote it for government officials, who undertake the usually thankless task of regulating business. We wrote it for the volunteers, the philanthropists, the opinion leaders, who work on the side of integrity. And we wrote it for young people, looking ahead to a lifetime of work and wondering how they can find personal meaning in it. All these people will benefit from a study of phishing equilibrium—of economic forces that build manipulation and deception into the system unless we take courageous steps to fight it. We also need stories of heroes, people who out of personal integrity (rather than for economic gain) have managed to keep deception in our economy down to livable levels. We will tell plenty of stories of these heroes.

Yes, I know what you mean about writing and writers. We seem to have lost the target. Writers seem to write to be known as writers. They don’t write because something is driving them toward the edge. I look back at when Pound, T. S. Eliot, e. e. Cummings, Jeffers, Auden, Spender were about. Their work cracked right through the paper, set it on fire. Poems became events, explosions. There was a high excitement. Now, for decades there has seemed to be this lull, almost a practiced lull, as if dullness indicated genius. And if a new talent came along it was only a flash, a few poems, a thin book and then he or she was sanded down, ingested into the quiet nothingness. Talent without durability is a god damned crime. It means they went to the soft trap, it means they believed the praise, it means they settled short. A writer is not a writer because he has written some books. A writer is not a writer because he teaches literature. A writer is only a writer if he can write now, tonight, this minute. We have too many x-writers who type. Books fall from my hand to the floor. They are total crap. I think we have just blown away half a century to the stinking winds. Yes,

Everything becomes a blur when you travel beyond a certain speed. Distant objects may still be clear in outline, but the blurred foreground makes it impossible to attend to them. This landscape is unreal and the passengers in the express train turn to their books, their thoughts or their private fantasies. The subjectivism of our age has a good deal to do with this imprisonment in a speeding vehicle, and the fact that we made this vehicle ourselves, with all the tireless care that children give to a contrivance of wood and wire, does not save us from the sense of being trapped without hope of escape. A further effect of such vertiginous speed is a kind of anaesthesia, entirely natural when the operation of the senses by which we normally make contact with our environment is suspended. With no opportunity to assimilate what is going on, our powers of assimilation are inevitably weakened and certain numbness sets in; nothing is fully savoured and nothing is properly understood. Even fear (which exists to forewarn us of danger) is suspended. This would be so even if speed of change were the only factor involved, but the kind of environment in which a large part of humanity lives today --- the environment created by technology at the service of immediate, short-term needs – does much to intensify this effect. Outside of works of art which embody something beyond our physical needs, our own constructions bore us. Those who, when they have built something and admired the finished product for a decent moment, are ready to pull it down and start on something new have good sense on their side.

Sparks come from the very source of light and are made of the purest brightness—so say the oldest legends. When a human Being is to be born, a spark begins to fall. First it flies through the darkness of outer space, then through galaxies, and finally, before it falls here, to Earth, the poor thing bumps into the orbits of planets. Each of them contaminates the spark with some Properties, while it darkens and fades. First Pluto draws the frame for this cosmic experiment and reveals its basic principles—life is a fleeting incident, followed by death, which will one day let the spark escape from the trap; there’s no other way out. Life is like an extremely demanding testing ground. From now on everything you do will count, every thought and every deed, but not for you to be punished or rewarded afterward, but because it is they that build your world. This is how the machine works. As it continues to fall, the spark crosses Neptune’s belt and is lost in its foggy vapors. As consolation Neptune gives it all sorts of illusions, a sleepy memory of its exodus, dreams about flying, fantasy, narcotics and books. Uranus equips it with the capacity for rebellion; from now on that will be proof of the memory of where the spark is from. As the spark passes the rings of Saturn, it becomes clear that waiting for it at the bottom is a prison. A labor camp, a hospital, rules and forms, a sickly body, fatal illness, the death of a loved one. But Jupiter gives it consolation, dignity and optimism, a splendid gift: things-will-work-out. Mars adds strength and aggression, which are sure to be of use. As it flies past the Sun, it is blinded, and all that it has left of its former, far-reaching consciousness is a small, stunted Self, separated from the rest, and so it will remain. I imagine it like this: a small torso, a crippled being with its wings torn off, a Fly tormented by cruel children; who knows how it will survive in the Gloom. Praise the Goddesses, now Venus stands in the way of its Fall. From her the spark gains the gift of love, the purest sympathy, the only thing that can save it and other sparks; thanks to the gifts of Venus they will be able to unite and support each other. Just before the Fall it catches on a small, strange planet that resembles a hypnotized Rabbit, and doesn’t turn on its own axis, but moves rapidly, staring at the Sun. This is Mercury, who gives it language, the capacity to communicate. As it passes the Moon, it gains something as intangible as the soul. Only then does it fall to Earth, and is immediately clothed in a body. Human, animal or vegetable. That’s the way it is. —

The spell is at its strongest in the center of the room,” I added. “So whatever you want to hold, you wanna put it as close to dead center as you can.” “You must’ve been awesome at Memory as a kid,” Archer mused. I shrugged. “When you’re perusing a book full of the most powerful dark magic ever, you pay attention.” Our gazes fell to the center of the room, where there was nothing but one of the cellar’s bazillion shelves. And under that shelf, drag marks in the dirt. We both moved to either end of the shelf. It took a minute (and a couple of impolite words from both of us), but we managed to move it several feet over. Then we stood there, breathing hard and sweating a little, and stared at the trap door in the floor. “Whatever’s down there,” Archer said after a moment, “it’s hard core enough that Casnoff went to all this trouble to hold it. Are you sure you want to do this, Mercer?” “Of course I don’t,” I said, grabbing the iron ring affixed to the trap door. “But I’m gonna.” I yanked at the ring, and the door came up easily. Cool air, smelling faintly of dirt and decay, wafted up. A metal ladder was bolted to the side of the opening, and I counted ten rungs before it disappeared into the blackness below. Archer made a move to stop into the hole, but I stopped him. “I’ll go down first. You’ll just look up my skirt if I go after you.” “Sophie-“ But it was too late. Trying to shake the feeling that I was stepping into a grave, I grabbed the ladder and started to climb down.

I’ve been in your skin,” he taunted. “I know you inside and out. There’s nothing there. Do us all a favor and die so we can start working on another plan and quit thinking maybe you’ll grow the fuck up and be capable of something.” Okay, enough! “You don’t know me inside and out,” I snarled. “You may have gotten in my skin, but you have never gotten inside my heart. Go ahead, Barrons, make me slice and dice myself. Go ahead, play games with me. Push me around. Lie to me. Bully me. Be your usual constant jackass self. Stalk around all broody and pissy and secretive, but you’re wrong about me. There’s something inside me you’d better be afraid of. And you can’t touch my soul. You will never touch my soul!” I raised my hand, drew back the knife, and let it fly. It sliced through the air, straight for his head. He avoided it with preternatural grace, a mere whisper of a movement, precisely and only as much as was required to not get hit. The hilt vibrated in the wood of the ornate mantel next to his head. “So, fuck you, Jericho Barrons, and not the way you like it. Fuck you—as in, you can’t touch me. Nobody can.” I kicked the table at him. It crashed into his shins. I picked up a lamp from the end table. Flung it straight at his head. He ducked again. I grabbed a book. It thumped off his chest. He laughed, dark eyes glittering with exhilaration. I launched myself at him, slammed a fist into his face. I heard a satisfying crunch and felt something in his nose give. He didn’t try to hit me back or push me away. Merely wrapped his arms around me and crushed me tight to his body, trapping my arms against his chest. Then, when I thought he might just squeeze me to death, he dropped his head forward, into the hollow where my shoulder met my neck. “Do you miss fucking me, Ms. Lane?” he purred against my ear. Voice resonated in my skull, pressuring a reply. I was tall and strong and proud inside myself. Nobody owned me. I didn’t have to answer any questions I didn’t want to, ever again. “Wouldn’t you just love to know?” I purred back. “You want more of me, don’t you, Barrons? I got under your skin deep. I hope you got addicted to me. I was a wild one, wasn’t I? I bet you never had sex like that in your entire existence, huh, O Ancient One? I bet I rocked your perfectly disciplined little world. I hope wanting me hurts like hell!” His hands were suddenly cruelly tight on my waist. “There’s only one question that matters, Ms. Lane, and it’s the one you never get around to asking. People are capable of varying degrees of truth. The majority spend their entire lives fabricating an elaborate skein of lies, immersing themselves in the faith of bad faith, doing whatever it takes to feel safe. The person who truly lives has precious few moments of safety, learns to thrive in any kind of storm. It’s the truth you can stare down stone-cold that makes you what you are. Weak or strong. Live or die. Prove yourself. How much truth can you take, Ms. Lane?” Dreamfever

December 8, 1986 Hello John: Thanks for the good letter. I don’t think it hurts, sometimes, to remember where you came from. You know the places where I came from. Even the people who try to write about that or make films about it, they don’t get it right. They call it “9 to 5.” It’s never 9 to 5, there’s no free lunch break at those places, in fact, at many of them in order to keep your job you don’t take lunch. Then there’s OVERTIME and the books never seem to get the overtime right and if you complain about that, there’s another sucker to take your place. You know my old saying, “Slavery was never abolished, it was only extended to include all the colors.” And what hurts is the steadily diminishing humanity of those fighting to hold jobs they don’t want but fear the alternative worse. People simply empty out. They are bodies with fearful and obedient minds. The color leaves the eye. The voice becomes ugly. And the body. The hair. The fingernails. The shoes. Everything does. As a young man I could not believe that people could give their lives over to those conditions. As an old man, I still can’t believe it. What do they do it for? Sex? TV? An automobile on monthly payments? Or children? Children who are just going to do the same things that they did? Early on, when I was quite young and going from job to job I was foolish enough to sometimes speak to my fellow workers: “Hey, the boss can come in here at any moment and lay all of us off, just like that, don’t you realize that?” They would just look at me. I was posing something that they didn’t want to enter their minds. Now in industry, there are vast layoffs (steel mills dead, technical changes in other factors of the work place). They are layed off by the hundreds of thousands and their faces are stunned: “I put in 35 years…” “It ain’t right…” “I don’t know what to do…” They never pay the slaves enough so they can get free, just enough so they can stay alive and come back to work. I could see all this. Why couldn’t they? I figured the park bench was just as good or being a barfly was just as good. Why not get there first before they put me there? Why wait? I just wrote in disgust against it all, it was a relief to get the shit out of my system. And now that I’m here, a so-called professional writer, after giving the first 50 years away, I’ve found out that there are other disgusts beyond the system. I remember once, working as a packer in this lighting fixture company, one of the packers suddenly said: “I’ll never be free!” One of the bosses was walking by (his name was Morrie) and he let out this delicious cackle of a laugh, enjoying the fact that this fellow was trapped for life. So, the luck I finally had in getting out of those places, no matter how long it took, has given me a kind of joy, the jolly joy of the miracle. I now write from an old mind and an old body, long beyond the time when most men would ever think of continuing such a thing, but since I started so late I owe it to myself to continue, and when the words begin to falter and I must be helped up stairways and I can no longer tell a bluebird from a paperclip, I still feel that something in me is going to remember (no matter how far I’m gone) how I’ve come through the murder and the mess and the moil, to at least a generous way to die. To not to have entirely wasted one’s life seems to be a worthy accomplishment, if only for myself. Your boy, Hank