Use Mask Quotes

That's what real love amounts to - letting a person be what he really is. Most people love you for who you pretend to be. To keep their love, you keep pretending - performing. You get to love your pretence. It's true, we're locked in an image, an act - and the sad thing is, people get so used to their image, they grow attached to their masks. They love their chains. They forget all about who they really are. And if you try to remind them, they hate you for it, they feel like you're trying to steal their most precious possession.

Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word "love" here not merely in the personal sense but as a state of being, or a state of grace - not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth.

When you don't fit in, you become superhuman. You can feel everyone else's eyes on you, stuck like Velcro. You can hear a whisper about you from a mile away. You can disappear, even when it looks like you're still standing right there. You can scream, and nobody hears a sound. You become the mutant who fell into the vat of acid, the Joker who can't remove his mask, the bionic man who's missing all his limbs and none of his heart. You are the thing that used to be normal, but that was so long ago, you can't even remember what it was like.

So it is more useful to watch a man in times of peril, and in adversity to discern what kind of man he is; for then at last words of truth are drawn from the depths of his heart, and the mask is torn off, reality remains.

It was sadness, lostness, and the worst thing about it was the way it seemed like a default—like it was there all the time, and all her other expressions were just an array of masks she used to cover it up.

Boys will be boys, that's what people say. No one ever mentions how girls have to be something other than themselves altogether. We are to stifle the same feelings that boys are encouraged to display. We are to use gossip as a means of policing ourselves -- this way those who do succumb to sex but are not damaged by it are damaged instead by peer malice. Girls demand a covenant because if one gives in, others will be expected to do the same. We are to remain united in cruelty, ignorance, and aversion. Or we are to starve the flesh from our bones, penalizing the body for its nature, castigating ourselves for advances we are powerless to prevent. We are to make false promises then resist the attentions solicited. Basically we are to become expert liars.

There is a life behind the personality that uses personalities as masks. There are times when life puts off the mask and deep answers unto deep.

Irony and cynicism were just what the U.S. hypocrisy of the fifties and sixties called for. That’s what made the early postmodernists great artists. The great thing about irony is that it splits things apart, gets up above them so we can see the flaws and hypocrisies and duplicates. The virtuous always triumph? Ward Cleaver is the prototypical fifties father? "Sure." Sarcasm, parody, absurdism and irony are great ways to strip off stuff’s mask and show the unpleasant reality behind it. The problem is that once the rules of art are debunked, and once the unpleasant realities the irony diagnoses are revealed and diagnosed, "then" what do we do? Irony’s useful for debunking illusions, but most of the illusion-debunking in the U.S. has now been done and redone. Once everybody knows that equality of opportunity is bunk and Mike Brady’s bunk and Just Say No is bunk, now what do we do? All we seem to want to do is keep ridiculing the stuff. Postmodern irony and cynicism’s become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what’s wrong, because they’ll look sentimental and naive to all the weary ironists. Irony’s gone from liberating to enslaving. There’s some great essay somewhere that has a line about irony being the song of the prisoner who’s come to love his cage.

Fortunately words, ingeniously used, will serve to mask the ugliness of naked facts.

Each clock is unique,’ he used to tell me. ‘And just like a person, its face, whether plain or pretty, is but a mask for the intricate mechanism it conceals.

There is absolutely no substitute for the best. Good food cannot be made of inferior ingredients masked with high flavor. It is true thrift to use the best ingredients available and to waste nothing.

Get used to me, I am not getting used to anyone.” I shouted my laughter to the stars.

This is a place built to store books, by people who wanted to preserve books, and used by people who want to read those books. I am not alone.

Never hide yourself! When you say something, don’t be in the shadow; let everyone see you! Whatever you say always put your name under it! Be courageous enough not to use any mask; don’t forget that hiding among the bushes is the affair of the cowards! Let the Sun shines on your face and everyman see you!

I acquired expensive habits and affected manners. I got a third-class degree and a first-class illusion: that I was a poet. But nothing could have been less poetic that my seeing-through-all boredom with life in general and with making a living in particular. I was too green to know that all cynicism masks a failure to cope-- an impotence, in short; and that to despise all effort is the greatest effort of all. But I did absorb a small dose of one permanently useful thing, Oxford's greatest gift to civilized life: Socratic honesty. It showed me, very intermittently, that it is not enough to revolt against one's past. One day I was outrageously bitter among some friends about the Army; back in my own rooms later it suddenly struck me that just because I said with impunity things that would have apoplexed my dead father, I was still no less under his influence. The truth was I was not a cynic by nature, only by revolt. I had got away from what I hated, but I hadn't found where I loved, and so I pretended that there was nowhere to love. Handsomely equipped to fail, I went out into the world.

Amy was profoundly shocked. "A little over an hour ago, our bus was attacked by three men in ski masks. They definitely knew me, and probably Dan, too. We fought them off, but it could've gone either way." "Like if they'd used a cookie truck instead of a gas tanker," Dan added. "Nobody's scared of Oreos.

And for adults, the world of fantasy books returns to us the great words of power which, in order to be tamed, we have excised from our adult vocabularies. These words are the pornography of innocence, words which adults no longer use with other adults, and so we laugh at them and consign them to the nursery, fear masking as cynicism. These are the words that were forged in the earth, air, fire, and water of human existence, and the words are: Love. Hate. Good. Evil. Courage. Honor. Truth.

Socrates used to say that death is like some prankster in a scary mask, dressed as a bogeyman to frighten small children. The wise man carefully removes the mask and, looking behind it, he finds nothing worth fearing.

There are people like Senhor José everywhere, who fill their time, or what they believe to be their spare time, by collecting stamps, coins, medals, vases, postcards, matchboxes, books, clocks, sport shirts, autographs, stones, clay figurines, empty beverage cans, little angels, cacti, opera programmes, lighters, pens, owls, music boxes, bottles, bonsai trees, paintings, mugs, pipes, glass obelisks, ceramic ducks, old toys, carnival masks, and they probably do so out of something that we might call metaphysical angst, perhaps because they cannot bear the idea of chaos being the one ruler of the universe, which is why, using their limited powers and with no divine help, they attempt to impose some order on the world, and for a short while they manage it, but only as long as they are there to defend their collection, because when the day comes when it must be dispersed, and that day always comes, either with their death or when the collector grows weary, everything goes back to its beginnings, everything returns to chaos.

Be careful with the mask. You may get used to it.

... My mother, daroga, my poor, unhappy mother would never... let me kiss her... She used to run away... and throw me my mask!... Nor any other woman... ever, ever!... Ah, you can understand, my happiness was so great, I cried. And fell at her feet, crying... and I kissed her feet... her little feet... crying. You're crying, too, daroga... and she cried also... the angel cried!...

The food we eat masks so much cruelty. The fact that we can sit down and eat a piece of chicken without thinking about the horrendous conditions under which chickens are industrially bred in this country is a sign of the dangers of capitalism, how capitalism has colonized our minds. The fact that we look no further than the commodity itself, the fact that we refuse to understand the relationships that underly the commodities that we use on a daily basis. And so food is like that.

The man in black hustled down to the wreckage, used a rock to smash the window glass, then pulled out his Raging Bull Casull .454. Before he fired a round, the woman pulled down her mask and opened her eyes. With chilling calm, she said deliberately, “God will damn your soul. Think before you make a decision that will stand for eternity.” 

I used to think Romeo and Juliet was the greatest love story ever written. But now that I’m middle-aged, I know better. Oh, Romeo certainly thinks he loves his Juliet. Driven by hormones, he unquestionably lusts for her. But if he loves her, it’s a shallow love. You want proof?” Cagney didn’t wait for Dr. Victor to say yay or nay. “Soon after meeting her for the first time, he realizes he forgot to ask her for her name. Can true love be founded upon such shallow acquaintance? I don’t think so. And at the end, when he thinks she’s dead, he finds no comfort in living out the remainder of his life within the paradigm of his love, at least keeping alive the memory of what they had briefly shared, even if it was no more than illusion, or more accurately, hormonal. “Those of us watching events unfold from the darkness know she merely lies in slumber. But does he seek the reason for her life-like appearance? No. Instead he accuses Death of amorousness, convinced that the ‘lean abhorred monster’ endeavors to keep Juliet in her present state, her cheeks flushed, so that she might cater to his own dissolute desires. But does Romeo hold her in his arms one last time and feel the warmth of her blood still coursing through her veins? Does he pinch her to see if she might awaken? Hold a mirror to her nose to see if her breath fogs it? Once, twice, three times a ‘no.’” Cagney sighed, listened to the leather creak as he shifted his weight in his chair. “No,” he repeated. “His alleged love is so superficial and selfish that he seeks to escape the pain of loss by taking his own life. That’s not love, but obsessive infatuation. Had they wed—Juliet bearing many children, bonding, growing together, the masks of the star-struck teens they once were long ago cast away, basking in the comforting campfire of a love born of a lifetime together, not devoured by the raging forest fire of youth that consumes everything and leaves behind nothing—and she died of natural causes, would Romeo have been so moved to take his own life, or would he have grieved properly, for her loss and not just his own?

All too often, we mask truth in artifice, concealing ourselves for fear of losing the ones we love or prolonging a deception for those we wish to expose. We hide behind that which brings us comfort from pain and sadness or use it to repel a truth too devastating to accept.

We are the hands and eyes and ears, the sensitive probing feelers through which the emergent, intelligent universe comes to know its own form and purpose. We bring the thunderbolt of meaning and significance to unconscious matter, blank paper, the night sky. We are already divine magicians, already supergods. Why shouldn't we use all our brilliance to leap in as many single bounds as it takes to a world beyond ours, threatened by overpopulation, mass species extinction, environmental degradation, hunger, and exploitation? Superman and his pals would figure a way out of any stupid cul-de-sac we could find ourselves in - and we made Superman, after all. All it takes is that one magic word.

They treat me like some sort of pet cat but claws I have, and claws I will use

There's no use of pretending to be good in front of people who are also doing same to us.. Mutual Deceptions don't lead anywhere !!

Yet, when these facts are seen side by side with other facts in the case, it is difficult not to become lost in superstitious awe. Their very absurdity seems to prohibit the use of the words 'chance' and 'coincidence.' For the sceptic there remains only one consolation: if there should be such a thing as superhuman Law, it is administered with sub-human inefficiency.

Men had often looked at her the way Vargo was looking at her now, but always for her beauty – never her ingenuity. And Ren, who was used to treating that kind of admiration as nothing more than a useful lever, felt her breath catch.

Like Batman, all of us hide behind our masks and use them to help define ourselves for others. We all have secret identities of a sort, hidden behind our smiling social-networking profiles or our happy church faces. They're not lies, really. They're just not the whole truth, because we know that most of the people we encounter day-to-day couldn't handle the truth (or perhaps we couldn't handle giving it to them).

All of us know, whether or not we are able to admit it, that mirrors can only lie, that death by drowning is all that awaits one there. It is for this reason that love is so desperately sought and so cunningly avoided. Love takes off the masks that we fear we cannot live without and know we cannot live within. I use the word "love" here not merely in the personal sense but as a state of being, or a state of grace--not in the infantile American sense of being made happy but in the tough and universal sense of quest and daring and growth.

Including the jury? I wondered, realizing that if Manson put on the mask of the peace-loving hippie at the trial, I’d be able to use Gregg’s remark to unmask him.

Michael Varus drew his sword. ''My father is Janus, the god of two faces. I am used to seeing through masks and deceptions.

Life as it proceeds reveals, cooly and dispassionately, what lies behind the mask that each man wears. It would seem that everyone possesses several faces. Some people use only one all the time, and it then, naturally, becomes soiled and wrinkled. These are the thrifty sort. Others look after their masks in the hope of passing them on to their descendants. Others again are constantly changing their faces. But all of them, when they reach old age, realise one day that the mask they are wearing is their last and that it will soon be worn out, and then, from behind the last mask, the real face appears.

She's functioning - don't make that face, it's a perfectly appropriate medical term - she's functioning and I thought people might like to see that. She has it mild, Keedie. Like you." "It's mild to you!" Keedie shouts and I flinch, not used to hearing her raise her voice. "It's mild to you and every other heartless soul in this village, Nina, it's not mild to me. It's not mild to Addie! It's mild to you because we make it so, at great personal cost!

It's a trick question, Aquilla. A Mask is not made. She is remade. First she is destroyed. Stripped down to the trembling child that lives at her core. It doesn't matter how strong she thinks she is. Blackcliff diminishes, humiliates, and humbles her." "But if she survives, she is reborn. She rises from the shadow world of failure and despair so that she might become as fearful as that which destroyed her. So that she might know darkness and use it as her scim and shield in her mission to serve the Empire.

He found her not even a block away from the house, sitting on a curb. As he approached, he saw her wiping her face with her forearm. Sabine was...crying? "What are you doing out here, cwena?" Over the past week, Rydstrom had been pleased when she'd worried about him, and gratified when she'd felt the sting of jealousy. Was he a terrible man to hope she was crying about him? She glared at him with her bottom lip quivering, allowing him to see her like this instead of using a mask. "I d-don't have anywhere else to g-go." Another swipe of her forearm over her eyes. "Lanthe's gone, and I c-can't get to her for six days. And I'm in a strange t-town and land, and Vrekeners are everywhere." Sabine hadn't even mentioned what they'd just gone through- "And you br-broke up with me!" she said, her tears falling faster. "Is that supposed to make me happy?" "Come inside, Sabine." "No! You t-told me not to." She sniffled, "You don't want me at your house." He swooped her up in his arms. "Will you shut up?" With his free hand, he brushed her tears. "I made it ten minutes before I came after you.

When the tragedies of others become for us diversions, sad stories with which to enthrall our friends, interesting bits of data to toss out at cocktail parties, a means of presenting a pose of political concern, or whatever…when this happens we commit the gravest of sins, condemn ourselves to ignominy, and consign the world to a dangerous course. We begin to justify our casual overview of pain and suffering by portraying ourselves as do-gooders incapacitated by the inexorable forces of poverty, famine, and war. “What can I do?” we say, “I’m only one person, and these things are beyond my control. I care about the world’s trouble, but there are no solutions.” Yet no matter how accurate this assessment, most of us are relying on it to be true, using it to mask our indulgence, our deep-seated lack of concern, our pathological self-involvement.

Because it has become a tradition to wear a mask, it is the only thing that shows. The truth is blurry to those who use their eyes to see.

The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.

It is love. I will have to run or hide. The walls of its prison rise up, as in a twisted dream. The beautiful mask has changed, but as always it is the one. Of what use are my talismans: the literary exercises, the vague erudition, the knowledge of words used by the harsh North to sing its seas and swords, the temperate friendship, the galleries of the Library, the common things, the habits, the young love of my mother, the militant shadow of my dead, the timeless night, the taste of dreams? Being with you or being without you is the measure of my time. Now the pitcher breaks about the spring, now the man arises to the sound of birds, now those that watch at the windows have gone dark, but the darkness has brought no peace. It, I know, is love: the anxiety and the relief at hearing your voice, the expectation and the memory, the horror of living in succession. It is love with its mythologies, with its tiny useless magics. There exists a corner that I dare not cross. Now the armies confine me, the hordes. (This room is unreal; she has not seen it.) The name of a woman gives me away. A woman hurts me in all of my body.

It’s to do with knowing and being known. I remember how it stopped seeming odd that in biblical Greek knowing was used for making love. Whosit knew so-and-so. Carnal knowledge. It’s what lovers trust each other with. Knowledge of each other, not of the flesh but through the flesh, knowledge of self, the real him, the real her, in extremis, the mask slipped from the face. Every other version of oneself is on offer to the public. We share our vivacity, grief, sulks, anger, joy ... we hand it out to anybody who happens to be standing around, to friends and family with a momentary sense of indecency perhaps, to strangers without hesitation. Our lovers share us with the passing trade. But in pairs we insist that we give ourselves to each other. What selves? What’s left? What else is there that hasn’t been dealt out like a pack of cards? Carnal knowledge. Personal, final, uncompromised. Knowing, being known. I revere that. Having that is being rich, you can be generous about what’s shared – she walks, she talks, she laughs, she lends a sympathetic ear, she kicks off her shoes and dances on the tables, she’s everybody’s and it don’t mean a thing, let them eat cake; knowledge is something else, the undealt card, and while it’s held it makes you free-and-easy and nice to know, and when it’s gone everything is pain. Every single thing. Every object that meets the eye, a pencil, a tangerine, a travel poster. As if the physical world has been wired up to pass a current back to the part of your brain where imagination glows like a filament in a lobe no bigger than a torch bulb. Pain.

Hiding behind the mask of a quotation, using someone else’s words to bolster our own softly blooming emotions.

Radium, they noted, had a “similar chemical nature” to calcium. Thus radium “if absorbed, might have a preference for bone as a final point of fixation.” Radium was what one might call a boneseeker, just like calcium; and the human body is programmed to deliver calcium straight to the bones to make them stronger… Essentially, radium had masked itself as calcium and, fooled, the girls’ bodies had deposited it inside their bones. Radium was a silent stalker, hiding behind that mask, using its disguise to burrow deep into the women’s jaws and teeth.

So, you care about me now,’ I said, meaning to make a joke of it, but it came out soft and low and full of something guttural that made me embarrassed. ‘Why?’ “Because I don’t know anybody like you. You’re like … a rare artefact. And it would be a shame if you got broken.’ Amusement spluttered from me in the most unattractive way. ‘Are you really comparing me to an antique right now? Oh my God, you nerd.” He started laughing, and the carefree melody of it swept me up until I was laughing too, and it was absurd because our families were being threatened and murdered and there we were squished together in a hundred-degree heat outside a maximum security prison, and we used to hate each other and now we were laughing so hard I had tears in my eyes. He composed himself first, but it took a while and I was left choking my laughter into silence. ‘What I meant was,’ his face twisted into a quiet smile that felt secret and deadly, ‘you’re a bright spark, Sophie. And I don’t want anyone to snuff you out.’ ‘Oh.’ Well I couldn’t make fun of that. Was I supposed to say something back? Wasn’t that how compliments worked? The silence was growing and suddenly his words felt heavy and important and he was so close to me and I was perspiring and panicking, and … and I said, ‘And you’re kind of like a snowflake.’ Oh, Jesus Christ. He masked his fleeting surprise with a quirked eyebrow. ‘Excuse me?’ ‘Nothing,’ I said quickly. ‘I didn’t say anything.’ ‘No, no,’ he said, rounding on me so his face was too close, his eyes too searing, his smile too irritating. ‘I’m a snowflake, am I?’ ‘Shut up. Seriously.’ I pulled wisps of loose hair around my cheeks. ‘Shut up.’ ‘I think you were trying to tell me I was special.’ ‘Icy,’ I said. ‘I meant you were icy.’ I could practically taste his glee. I was floundering, and he was relishing it. ‘And unique, in that you’re uniquely annoying,’ I added. ‘God, you’re annoying.

The use of the word person in every European language to signify a human individual is unintentionally appropriate; persona really means a player’s mask, and it is quite certain that no one shows himself as he is, but that each wears a mask and plays a role. In general, the whole of social life is a continual comedy, which the worthy find insipid, whilst the stupid delight in it greatly.

I crave the feeling of being claimed, owned, and used. It might be wrong, being so fiercely independent in every other aspect from such a young age, but this one part of me I needed to be brought to life. Maybe one day.

Afternoon,Caputo," Cole said. Jack's face remained a cool mask. "Hello, Cole.Becks." Cole froze at Jack's casual use of his real name. His arm dropped from my shoulders. I couldn't help but smile. Jack looked at me. "I'll see you in Mrs. Stone's room, Becks. You're coming, right? Mythology paper?" I nodded.Just before he sauntered away, Jack winked at me and slapped Cole hard on the shoulder. "See you around, Neal.

First having read the book of myths, and loaded the camera, and checked the edge of the knife-blade, I put on the body-armor of black rubber the absurd flippers the grave and awkward mask. I am having to do this not like Cousteau with his assiduous team aboard the sun-flooded schooner but here alone. There is a ladder. The ladder is always there hanging innocently close to the side of the schooner. We know what it is for, we who have used it. Otherwise it is a piece of maritime floss some sundry equipment. I go down. Rung after rung and still the oxygen immerses me the blue light the clear atoms of our human air. I go down. My flippers cripple me, I crawl like an insect down the ladder and there is no one to tell me when the ocean will begin. First the air is blue and then it is bluer and then green and then black I am blacking out and yet my mask is powerful it pumps my blood with power the sea is another story the sea is not a question of power I have to learn alone to turn my body without force in the deep element. And now: it is easy to forget what I came for among so many who have always lived here swaying their crenellated fans between the reefs and besides you breathe differently down here. I came to explore the wreck. The words are purposes. The words are maps. I came to see the damage that was done and the treasures that prevail. I stroke the beam of my lamp slowly along the flank of something more permanent than fish or weed the thing I came for: the wreck and not the story of the wreck the thing itself and not the myth the drowned face always staring toward the sun the evidence of damage worn by salt and sway into this threadbare beauty the ribs of the disaster curving their assertion among the tentative haunters. This is the place. And I am here, the mermaid whose dark hair streams black, the merman in his armored body. We circle silently about the wreck we dive into the hold. I am she: I am he whose drowned face sleeps with open eyes whose breasts still bear the stress whose silver, copper, vermeil cargo lies obscurely inside barrels half-wedged and left to rot we are the half-destroyed instruments that once held to a course the water-eaten log the fouled compass We are, I am, you are by cowardice or courage the one who find our way back to this scene carrying a knife, a camera a book of myths in which our names do not appear.

animals don’t follow unstable pack leaders; only humans promote, follow, and praise instability. Only humans have leaders who can lie and get away with it. Around the world, most of the pack leaders we follow today are not stable. Their followers may not know it, but Mother Nature is far too honest to be fooled by angry, frustrated, jealous, competitive, stubborn, or other negative energy—even if it is masked by a politician’s smile. That

Anger is a catalyst. Holding on to it will make us exhausted and sick. Internalizing anger will take away our joy and spirit; externalizing anger will make us less effective in our attempts to create change and forge connection. It’s an emotion that we need to transform into something life-giving: courage, love, change, compassion, justice. Or sometimes anger can mask a far more difficult emotion like grief, regret, or shame, and we need to use it to dig into what we’re really feeling. Either way, anger is a powerful catalyst but a life-sucking companion.

Incidentally, the long-held idea that spices were used to mask rotting food doesn't stand up to much scrutiny. The only people who could afford most spices were the ones least likely to have bad meat, and anyway spices were too valuable to be used as a mask.

For all his orders and sneers, his commanding presence, and his intimidating always all-black ensemble, Vhalla saw something different. She simply saw someone who was lonely, someone who could likely count their friends on one hand, and perhaps wanted to one day use two hands. He was nothing like the man she first met, the man who wore a mask to meet palace expectations.

Our masks, always in peril of smearing or cracking, In need of continuous check in the mirror or silverware, Keep us in thrall to ourselves, concerned with our surfaces. [...] So primp, preen, prink, pluck, and prize your flesh, All posturings! All ravishment! All sensibility! Meanwhile, have you used your mind today?

My mother’s English has remained rudimentary during her forty-plus years living in the United States. When she speaks Korean, my mother speaks her mind. She is sharp, witty, and judgmental, if rather self-preening. But her English is a crush of piano keys that used to make me cringe whenever she spoke to a white person. As my mother spoke, I watched the white person, oftentimes a woman, put on a fright mask of strained tolerance: wide eyes frozen in trapped patience, smile widened in condescension. As she began responding to my mother in a voice reserved for toddlers, I stepped in. From a young age, I learned to speak for my mother as authoritatively as I could. Not only did I want to dispel the derision I saw behind that woman’s eyes, I wanted to shame her with my sobering fluency for thinking what she was thinking. I have been partly drawn to writing, I realize, to judge those who have unfairly judged my family; to prove that I’ve been watching this whole time.

The life that I touch for good or ill will touch another life, and that in turn another, until who knows where the trembling stops or in what far place and time my touch will be felt. Our lives are linked together. No man is an island. But there is another truth, the sister of this one, and it is that every man is an island. It is a truth that often the tolling of a silence reveals even more vividly than the tolling of a bell. We sit in silence with one another, each of us more or less reluctant to speak, for fear that if he does, he may sound life a fool. And beneath that there is of course the deeper fear, which is really a fear of the self rather than of the other, that maybe truth of it is that indeed he is a fool. The fear that the self that he reveals by speaking may be a self that the others will reject just as in a way he has himself rejected it. So either we do not speak, or we speak not to reveal who we are but to conceal who we are, because words can be used either way of course. Instead of showing ourselves as we truly are, we show ourselves as we believe others want us to be. We wear masks, and with practice we do it better and better, and they serve us well –except that it gets very lonely inside the mask, because inside the mask that each of us wears there is a person who both longs to be known and fears to be known. In this sense every man is an island separated from every other man by fathoms of distrust and duplicity. Part of what it means to be is to be you and not me, between us the sea that we can never entirely cross even when we would. “My brethren are wholly estranged from me,” Job cries out. “I have become an alien in their eyes.” The paradox is that part of what binds us closest together as human beings and makes it true that no man is an island is the knowledge that in another way every man is an island. Because to know this is to know that not only deep in you is there a self that longs about all to be known and accepted, but that there is also such a self in me, in everyone else the world over. So when we meet as strangers, when even friends look like strangers, it is good to remember that we need each other greatly you and I, more than much of the time we dare to imagine, more than more of the time we dare to admit. Island calls to island across the silence, and once, in trust, the real words come, a bridge is built and love is done –not sentimental, emotional love, but love that is pontifex, bridge-builder. Love that speak the holy and healing word which is: God be with you, stranger who are no stranger. I wish you well. The islands become an archipelago, a continent, become a kingdom whose name is the Kingdom of God.

It was called ‘We Wear the Mask’, by Paul Laurence Dunbar. I transcribed the first stanza and then started jotting down my reaction to it. We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. I used to wear masks so subtle I barely noticed them. A compliment to my mother after a dismal meal, a smile at my best friend when she sang out of tune, a forced laugh at my uncle’s bad jokes. I wore small masks that came and went, like fleeting expressions. I am stuck inside the mask I wear now. I want to rip it off. I want to show my scars to the world, to unveil the ugliness that breathes inside me. I want to be unashamed. I want to be unafraid. But every day the mask gets tighter, and I suffocate a little more. I stopped writing.

I love that I am but one of millions of single girls hitting the road by themselves these days. A hateful little ex-boyfriend once said that a houseful of cats used to be the sign of a terminally single woman, but not it's a house full of souvenirs acquired on foreign adventures. He said it derogatorily: Look at all of this tragic overcompensating in the form of tribal masks and rain sticks. But I say that plane tickets replacing cats might be the best evidence of women's progress as a gender. I'm damn proud of us. Also, since I have both a cat and a lot of foreign souvenirs, I broke up with that dude and went on a really great trip.

No matter what I do, I really do love you Celaena." The word hit her like a stone to the head. He'd never said that word to her before. Ever. A long silence fell between them. Arobynn's neck shifted as he swallowed. "I do the things that I do because I'm sacred ... and because I don't know how to express what I feel." He said it so quietly that she barely heard it. "I did all of those things because I was angry with you for picking Sam." Arobynn's carefully cultivated mask fell, and the wound she'd given him flickered in those magnificent eyes. "Stay with me," he whispered. "Stay in Rifthold." She swallowed, and found it particularly hard to do so. "I'm going." "No," he said softly. "Don't go." No. That was what she'd said to him that night he'd beaten her, in the moment before he'd struck her, when she thought he was going to hurt Sam instead. And then he'd beaten her so badly she'd been knocked unconscious. Then he'd beaten Sam, too. Don't. That was what Ansel had said to her in the desert when Celaena had pressed the sword into the back of her neck, when the agony of Ansel's betrayal had been almost enough to make Celaena kill the girl she'd called a friend. But that betrayal had paled in comparison to what Arobynn had done to her when he'd tricked her into killing Doneval, a man who could have freed countless slaves. He was using word as chains to bind her again. He'd had so many chances over the year to tell her that he loved her--he'd known how much she craved those words. But he hadn't spoken them until he needed to use them as weapons. And now that she had Sam, Sam who said those words without expecting anything in return, Sam who loved her for reasons she still didn't understand... Celaena tilted her head to the side, the only warning she gave that she was still ready to attack him. "Get out of my house.

Arther, what is first on the agenda?" ... "The same as ever, Highness. Elections, land, and entitlements." Arther had learned to mask much of his distaste at that last word, but his lips still puckered as if it soured his tongue. ... Entitlements. Leesha hated the word, too, but not for the same reason as Arther. It was a cold word, used by those with full bellies to bemoan feeding those without.

On Saturday afternoons I used to go for a walk with my mother. From the dusk of the hallway, we stepped at once into the brightness of the day. The passerby, bathed in melting gold, had their eyes half-closed against the glare, as if they were drenched with honey, upper lips were drawn back, exposing the teeth. Everyone in this golden day wore that grimace of heat–as if the sun had forced his worshippers to wear identical masks of gold. The old and the young, women and children, greeted each other with these masks, painted on their faces with thick gold paint; they smiled at each other's pagan faces–the barbaric smiles of Bacchus.

There are a great number of ego defenses, and the combinations and circumstances in which we use them reflect on our personality. Indeed, one could go so far as to argue that the self is nothing but the sum of its ego defenses, which are constantly shaping, upholding, protecting, and repairing it. The self is like a cracked mask that is in constant need of being pieced together. But behind the mask there is nobody at home.

THERE FOR YOU When it all went down And the pain came through I get it now I was there for you Don’t ask me how I know it’s true I get it now I was there for you I make my plans Like I always do But when I look back I was there for you I walk the streets Like I used to do And I freeze with fear But I’m there for you I see my life In full review It was never me It was always you You sent me here You sent me there Breaking things I can’t repair Making objects Out of thoughts making more By thinking not Eating food And drinking wine A body that I thought was mine Dressed as Arab Dressed as Jew O mask of iron I was there for you Moods of glory Moods so foul The world comes through A bloody towel And death is old But it’s always new I freeze with fear And I’m there for you I see it clear I always knew It was never me I was there for you I was there for you My darling one And by your law It all was done Don’t ask me how I know it’s true I get it now I was there for you

If our shallow, self-critical culture sometimes seems to lack a sense of the numinous or spiritual it’s only in the same way a fish lacks a sense of the ocean. Because the numinous is everywhere, we need to be reminded of it. We live among wonders. Superhuman cyborgs, we plug into cell phones connecting us to one another and to a constantly updated planetary database, an exo-memory that allows us to fit our complete cultural archive into a jacket pocket. We have camera eyes that speed up, slow down, and even reverse the flow of time, allowing us to see what no one prior to the twentieth century had ever seen — the thermodynamic miracle of broken shards and a puddle gathering themselves up from the floor to assemble a half-full wineglass. We are the hands and eyes and ears, the sensitive probing feelers through which the emergent, intelligent universe comes to know its own form and purpose. We bring the thunderbolt of meaning and significance to unconscious matter, blank paper, the night sky. We are already divine magicians, already supergods. Why shouldn’t we use all our brilliance to leap in as many single bounds as it takes to a world beyond ours, threatened by overpopulation, mass species extinction, environmental degradation, hunger, and exploitation? Superman and his pals would figure a way out of any stupid cul-de-sac we could find ourselves in — and we made Superman, after all.

That's what real love amounts to - letting a person be what he really is. Most people love you for who you pretend to be. To keep their love, you keep pretending - performing. You get to love your pretense. It's true, we're locked in an image, an act - and the sad thing is, people get so used to their image, they grow attached to their masks. They love their chains. They forget all about who they really are. And if you try to remind them, they hate you for it, they feel like you're trying to steal their most precious possession.

Old age is really a disguise that no one but the old themselves see through. I feel exactly as I always did, as young inside as when I was twenty-one, but the outward shell conceals the real me—sometimes even from itself—and betrays that person deep down inside, under wrinkles and liver spots and all the horrors of decay. I sometimes think that I feel things more intensely than I used to, not less. But I am so afraid of appearing ridiculous. People expect serenity of the old. That is the stereotype, the mask we are expected to put on. But

But Don you're still a human being, you still want to live, you crave connection and society, you know intellectually that you're no less worthy of connection and society than anyone else simply because of how you appear, you know that hiding yourself away out of fear of gazes is really giving in to a shame that is not required and that will keep you from the kind of life you deserve as much as the next girl, you know that you can't help how you look but that you are supposed to be able to help how much you care about how you look. You're supposed to be strong enough to exert some control over how much you want to hide, and you're so desperate to feel some kind of control that you settle for the appearance of control." "Your voice gets different when you talk about this—" "What you do is you hide your deep need to hide, and you do this out of the need to appear to other people as if you have the strength not to care how you appear to others. You stick your hideous face right in there into the wine-tasting crowd's visual meatgrinder, you smile so wide it hurts and put out your hand and are extra gregarious and outgoing and exert yourself to appear totally unaware of the facial struggles of people who are trying not to wince or stare or give away the fact that they can see that you're hideously, improbably deformed. You feign acceptance of your deformity. You take your desire to hide and conceal it under a mask of acceptance." "Use less words.

We have also set up for them an edifying project for a continuous mitigation of their own tyranny, ascribing to them an unshakeable faith in the triumph of virtue, as well as in the moral justification of their crimes. These are the theories of well-meaning children who see everything in black or white, dream of nothing but angels or demons, and have no idea of the incredible number of hypocritical masks of every color and shape and size which men use to conceal their features when they have passed the age of devotion to ideals and have abandoned themselves unrestrainedly to their egotistic desires

It is indeed becoming more and more difficult, even senseless, for me to write an official English. And more and more my own language appears to me like a veil that must be torn apart in order to get at the things (or the Nothingness) behind it. Grammar and style. To me they have become as irrelevant as a Victorian bathing suit or the imperturbability of a true gentleman. A mask. Let us hope the time will come, thank God that in certain circles it has already come, when language is most efficiently used where it is being most efficiently misused. As we cannot eliminate language all at once, we should at least leave nothing undone that might contribute to its falling into disrepute. To bore one hole after another in it, until what lurks behind it - be it something or nothing - begins to seep through; I cannot imagine a higher goal for a writer today.

Art is the conscious making of numinous phenomena. Many objects are just objects - inert, merely utilitarian. Many events are inconsequential, too banal to add anything to our experience of life. This is unfortunate, as one cannot grow except by having one’s spirit greatly stirred; and the spirit cannot be greatly stirred by spiritless things. Much of our very life is dead. For primitive man, this was not so. He made his own possessions, and shaped and decorated them with the aim of making them not merely useful, but powerful. He tried to infuse his weapons with the nature of the tiger, his cooking pots with the life of growing things; and he succeeded. Appearance, material, history, context, rarity - perhaps rarity most of all - combine to create, magically, the quality of soul. But we modern demiurges are prolific copyists; we give few things souls of their own. Locomotives, with their close resemblance to beasts, may be the great exception; but in nearly all else with which today’s poor humans are filling the world, I see a quelling of the numinous, an ashening of the fire of life. We are making an inert world; we are building a cemetery. And on the tombs, to remind us of life, we lay wreaths of poetry and bouquets of painting. You expressed this very condition, when you said that art beautifies life. No longer integral, the numinous has become optional, a luxury - one of which you, my dear friend, are fond, however unconsciously. You adorn yourself with the same instincts as the primitive who puts a frightening mask of clay and feathers on his head, and you comport yourself in an uncommonly calculated way - as do I. We thus make numinous phenomena of ourselves. No mean trick - to make oneself a rarity, in this overpopulated age.

I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions. They bring with them memories of pleasant days together. At the moment when they come across him in the play he is staggering under the weight of a burden intolerable to one of his temperament. The dead have come armed out of the grave to impose on him a mission at once too great and too mean for him. He is a dreamer, and he is called upon to act. He has the nature of the poet, and he is asked to grapple with the common complexity of cause and effect, with life in its practical realisation, of which he knows nothing, not with life in its ideal essence, of which he knows so much. He has no conception of what to do, and his folly is to feign folly. Brutus used madness as a cloak to conceal the sword of his purpose, the dagger of his will, but the Hamlet madness is a mere mask for the hiding of weakness. In the making of fancies and jests he sees a chance of delay. He keeps playing with action as an artist plays with a theory. He makes himself the spy of his proper actions, and listening to his own words knows them to be but 'words, words, words.' Instead of trying to be the hero of his own history, he seeks to be the spectator of his own tragedy. He disbelieves in everything, including himself, and yet his doubt helps him not, as it comes not from scepticism but from a divided will. Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation. When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette. That is as far as they can attain to in 'the contemplation of the spectacle of life with appropriate emotions.' They are close to his very secret and know nothing of it. Nor would there be any use in telling them. They are the little cups that can hold so much and no more.

By weaponizing the discourse of human rights to justify the use of force against governments that resisted the Washington consensus, this group of well-connected liberals was able to stir support where the neocons could not. Their brand of interventionism appealed directly to the sensibility of the Democratic Party's metropolitan base, large swaths of academia, the foundation-funded human rights NGO complex, and the New York Times editorial board. The xhibition of atrocities allegedly committed by adversarial governments, either by Western-funded civil society groups, major human rights organizations or the mainstream press, was the military humanists' stock in trade, enabling them to mask imperial designs behind a patina of "genocide prevention." With this neat tactic, they effectively neutralized progressive antiwar elements and tarred those who dared to protest their wars as dictator apologists.

Presently, he looked at the people standing round and said, "You have leave to go." They bowed out. When the lads behind him started to follow, he reached out and caught one by the arm, saying, "No, you stay, Hephaistion." The tall boy came back with a lightening of all his face, and stood close beside him. He said to me, "The others are the Companions of the Prince; but we two are just Hephaistion and Alexander." "So it was" I said, smiling at them, "in the tent of Achilles". He nodded; it was a thought he was used to.

I've heard youngsters use some of George Lucas' terms––"the Force and "the dark side." So it must be hitting somewhere. It's a good sound teaching, I would say. The fact that the evil power is not identified with any specific nation on this earth means you've got an abstract power, which represents a principle, not a specific historical situation. The story has to do with an operation of principles, not of this nation against that. The monster masks that are put on people in Star Wars represent the real monster force in the modern world. When the mask of Darth Vader is removed, you see an unformed man, one who has not developed as a human individual. What you see is a strange and pitiful sort of undifferentiated face. Darth Vader has not developed his humanity. He's a robot. He's a bureaucrat, living not in terms of himself but of an imposed system. This is the threat to our lives that we all face today. Is the system going to flatten you out and deny you your humanity, or are you going to be able to make use of the system to the attainment of human purposes? How do you relate to the system so that you are not compulsively serving it? . . . The thing to do is to learn to live in your period of history as a human being ...[b]y holding to your own ideals for yourself and, like Luke Skywalker, rejecting the system's impersonal claims upon you. Well, you see, that movie communicates. It is in a language that talks to young people, and that's what counts. It asks, Are you going to be a person of heart and humanity––because that's where the life is, from the heart––or are you going to do whatever seems to be required of you by what might be called "intentional power"? When Ben Knobi says, "May the Force be with you," he's speaking of the power and energy of life, not of programmed political intentions. ... [O]f course the Force moves from within. But the Force of the Empire is based on an intention to overcome and master. Star Wars is not a simple morality play. It has to do with the powers of life as they are either fulfilled or broken and suppressed through the action of man.

You used to say you would never forget me. That made me feel like the cherry blossom, here today and gone tomorrow; it is not the kind of thing one says to a person with whom one proposes to spend the rest of one's life, after all. And, after all that, for three hundred and fifty-two in each leap year, I never think about you, sometimes. I cast an image into the past, like a fishing line, and up it comes with a gold mask on the hook, a mask with real tears at the ends of its eyes, but tears that are no longer anybody's tears. Time has drifted over your face.

Holmes was charming and gracious, but something about him made Belknap uneasy. He could not have defined it. Indeed, for the next several decades alienists and their successors would find themselves hard-pressed to describe with any precision what it was about men like Holmes that could cause them to seem warm and ingratiating but also telegraph the vague sense that some important element of humanness was missing. At first alienists described this condition as “moral insanity” and those who exhibited the disorder as “moral imbeciles.” They later adopted the term “psychopath,” used in the lay press as early as 1885 in William Stead’s Pall Mall Gazette, which described it as a “new malady” and stated, “Beside his own person and his own interests, nothing is sacred to the psychopath.” Half a century later, in his path-breaking book The Mask of Sanity, Dr. Hervey Cleckley described the prototypical psychopath as “a subtly constructed reflex machine which can mimic the human personality perfectly. … So perfect is his reproduction of a whole and normal man that no one who examines him in a clinical setting can point out in scientific or objective terms why, or how, he is not real.

...each day I sit down in purposeful concentration to write in a notebook, some sentences on a buried truth, an unnamed reality, things that happened but are denied. It is hard to describe the stillness it takes, the difficulty of this act. It requires an almost perfect concentration which I am trying to learn and there is no way to learn it that is spelled out anywhere or so I can understand it but I have a sense that it's completely simply, on the order of being able to sit still and keep your mind dead center in you without apology or fear. I squirm after some time but it ain't boredom, it's fear of what's possible, how much you can know if you can be quiet enough and simple enough. I move around, my mind wanders, I lose the ability to take words and roll them through my brain, move with them into their interiors, feel their colors, touch what's under them, where they come from long ago and way back. I get frightened seeing what's in my own mind if words get put to it. There's a light there, it's bright, it's wide, it could make you blind if you look direct into it and so I turn away, afraid; I get frightened and I run and the only way to run is to abandon the process altogether or compromise it beyond recognition. I think about Celine sitting with his shit, for instance; I don't know why he didn't run, he should've. It's a quality you have to have of being near mad and at the same time so quiet in your heart that you could pass for a spiritual warrior; you could probably break things with the power in your mind. You got to be able to stand it, because it's a powerful and disturbing light, not something easy and kind, it comes through your head to make its way onto the page and you get fucking scared so your mind runs away, it wanders, it gets distracted, it buckles, it deserts, it takes a Goddamn freight train if it can find one, it wants calming agents and sporifics, and you mask that you are betraying the brightest and the best light you will ever see, you are betraying the mind that can be host to it... ...Your mind does stupid tricks to mask that you are betraying something of grave importance. It wanders so you won't notice that you are deserting your own life, abandoning it to triviality and garbage, how you are too fucking afraid to use your own brain for what it's for, which is to be a host to the light, to use it, to focus it; let it shine and carry the burden of what is illuminated, everything buried there; the light's scarier than anything it shows, the pure, direct experience of it in you as if your mind ain't the vegetable thing it's generally conceived to be or the nightmare thing you know it to be but a capacity you barely imagined, real; overwhelming and real, pushing you out to the edge of ecstasy and knowing and then do you fall or do you jump or do you fly?

Paper: Some inexpensive plain bond paper A pad of Strathmore Drawing Paper, 80 lb., 11" × 14" Pencils: A #2 ordinary yellow writing pencil with an eraser at the top A #4 drawing pencil—Faber-Castell, Prismacolor Turquoise, or other brand Marking pens: Sharpie (or other brand) fine point non-permanent black A second marker, fine point permanent black Graphite stick: #4 General’s is a good brand, or other brand Pencil sharpener: A small handheld sharpener is fine Erasers: A Pink Pearl eraser A Staedtler Mars white plastic eraser A kneaded eraser—Lyra, Design, or other brand Masking tape: 3M Scotch Low Tack Artist Tape Clips: Two 1-inch-wide black clips Drawing board: A firm surface large enough to hold your 11" × 14" drawing paper—about 15" × 18" is a good size. This can be improvised from a kitchen cutting board, a piece of foam board, a piece of Masonite, or thick cardboard. Picture plane: This too can be improvised using an 8" × 10" piece of glass (you will need to tape the edges), or an 8" × 10" piece of clear plastic, about 1⁄16" thick. Viewfinders: You will make these from black paper—“construction” paper is a good thickness, or you could use thin black cardboard. You will find instructions for making the viewfinders here A small mirror: About 5" × 7" that can be taped to a wall, or any available wall mirror.

An up-front enemy is rare now and is actually a blessing. People hardly ever attack you openly anymore, showing their intentions, their desire to destroy you; instead they are political and indirect. Although the world is more competitive than ever, outward aggression is discouraged, so people have learned to go underground, to attack unpredictably and craftily. Many use friendship as a way to mask aggressive desires: they come close to you to do more harm. (A friend knows best how to hurt you.) Or, without actually being friends, they offer assistance and alliance: they may seem supportive, but in the end they’re advancing their own interests at your expense. Then there are those who master moral warfare, playing the victim, making you feel guilty for something unspecified you’ve done. The battlefield is full of these warriors, slippery, evasive, and clever.

Domination and critique have always formed an apparatus covertly against a common hostis: the conspirator, who works under cover, who used everything THEY give him and everything THEY attribute to him as a mask. The conspirator is everywhere hated, although THEY will never hate him as much as he enjoys playing his game. No doubt a certain amount of what one usually calls “perversion” accounts for the pleasure, since what he enjoys, among other things, is his opacity. But that isn’t the reason THEY continue to push the conspirator to make himself a critic, to subjectivate himself as critic, nor the reason for the hate THEY so commonly express. The reason is quite simply the danger he represents. The danger, for Empire, is war machines: that one person, that people transform themselves into war machines, ORGANICALLY JOIN THEIR TASTE FOR LIFE AND THEIR TASTE FOR DESTRUCTION.

How much time, after this realization sank in and spread among consumers (mostly via phone, interestingly), would any micro-econometrist expect to need to pass before high-tech visual videophony was mostly abandoned, then, a return to good old telephoning not only dictated by common consumer sense but actually after a while culturally approved as a kind of chic integrity, not Ludditism but a kind of retrograde transcendence of sci-fi-ish high-tech for its own sake, a transcendence of the vanity and the slavery to high-tech fashion that people view as so unattractive in one another. In other words a return to aural-only telephony became, at the closed curve’s end, a kind of status-symbol of anti-vanity, such that only callers utterly lacking in self-awareness continued to use videophony and Tableaux, to say nothing of masks, and these tacky facsimile-using people became ironic cultural symbols of tacky vain slavery to corporate PR and high-tech novelty, became the Subsidized Era’s tacky equivalents of people with leisure suits, black velvet paintings, sweater-vests for their poodles, electric zirconium jewelry, NoCoat Lin-guaScrapers, and c.

I squinted at the western sky behind Thaddeus, a blood-red smear melting into blackness. Twisting my neck, I glanced the opposite direction. My teeth clenched at a magnified, round moon nearly as scarlet as the portending sunset, its luminous face half masked by hazy cloud cover. Hatred, vengeance, anger... such emotions coursed through my veins in a poisonous concoction that muddied my mind, impelling me to grip my sword tighter and fight with every ounce of strength I possessed against those who threatened my family - my kind. Currently, Thaddeus was behaving as such a threat, using his powers of persuasion to condone human sacrifice for some outrageously perceived good. He wanted an offering for the monsters; a desperate, futile offering of human flesh that would in no way protect the other villagers from being mauled as he promised.

Authentic relationships always require vulnerability and always the type of vulnerability that at times may feel deeply uncomfortable. Being known and seeking to know others truly. There's a cost in that but that is why there's a value. Authentic relating is the ability to be with other people and not use a mask to protect yourself. It requires a great deal of courage to be able to present one's weakness and one's strengths without diminishing either one for fear of judgement. Although authentic relating is generally associated with intimate relationships of best friends, family and lovers, authentic relating can also be done with people we only meet once or twice. It is about us being true to ourselves ... through the attitude of our heart, our words and our actions. Authentic relating requires people who are brutally honest with themselves and each other. It requires a huge amount of self-awareness, laying down of pride and stripping bare. It also requires a good level of self-esteem, to feel confident to be vulnerable. What does authentic relating mean for you?

A cult is a group of people who share an obsessive devotion to a person or idea. The cults described in this book use violent tactics to recruit, indoctrinate, and keep members. Ritual abuse is defined as the emotionally, physically, and sexually abusive acts performed by violent cults. Most violent cults do not openly express their beliefs and practices, and they tend to live separately in noncommunal environments to avoid detection. Some victims of ritual abuse are children abused outside the home by nonfamily members, in public settings such as day care. Other victims are children and teenagers who are forced by their parents to witness and participate in violent rituals. Adult ritual abuse victims often include these grown children who were forced from childhood to be a member of the group. Other adult and teenage victims are people who unknowingly joined social groups or organizations that slowly manipulated and blackmailed them into becoming permanent members of the group. All cases of ritual abuse, no matter what the age of the victim, involve intense physical and emotional trauma. Violent cults may sacrifice humans and animals as part of religious rituals. They use torture to silence victims and other unwilling participants. Ritual abuse victims say they are degraded and humiliated and are often forced to torture, kill, and sexually violate other helpless victims. The purpose of the ritual abuse is usually indoctrination. The cults intend to destroy these victims' free will by undermining their sense of safety in the world and by forcing them to hurt others. In the last ten years, a number of people have been convicted on sexual abuse charges in cases where the abused children had reported elements of ritual child abuse. These children described being raped by groups of adults who wore costumes or masks and said they were forced to witness religious-type rituals in which animals and humans were tortured or killed. In one case, the defense introduced in court photographs of the children being abused by the defendants[.1] In another case, the police found tunnels etched with crosses and pentacles along with stone altars and candles in a cemetery where abuse had been reported. The defendants in this case pleaded guilty to charges of incest, cruelty, and indecent assault.[2] Ritual abuse allegations have been made in England, the United States, and Canada.[3] Many myths abound concerning the parents and children who report ritual abuse. Some people suggest that the tales of ritual abuse are "mass hysteria." They say the parents of these children who report ritual abuse are often overly zealous Christians on a "witch-hunt" to persecute satanists. These skeptics say the parents are fearful of satanism, and they use their knowledge of the Black Mass (a historically well-known, sexualized ritual in which animals and humans are sacrificed) to brainwash their children into saying they were abused by satanists.[4] In 1992 I conducted a study to separate fact from fiction in regard to the disclosures of children who report ritual abuse.[5] The study was conducted through Believe the Children, a national organization that provides support and educational sources for ritual abuse survivors and their families.

In the United States, the two-party system works as a way to manufacture an artificial group identity, akin to an ethnic or national one or an allegiance to a sports team. Part of the identity seems to consist in allegiance to certain conclusions on a range of “hot button” political issues. On those issues, political party affiliation does seem to result in rigidly held belief and loyalty in the voting booth. Allegiance to the group identity forged by political party affiliation renders Americans blind to the essential similarities between the agendas of the two parties, similarities that can be expected to be exactly the ones that run counter to public interest, in other words, those interests of the deep-pocketed backers of elections to which any politician must be subservient in order to raise the kind of money necessary to run for national office. Satisfaction at having one’s group “win” seems to override the clearly present fundamental dissatisfaction with the lack of genuine policy options.33 If the function of the two parties is to hide the fact that the basic agenda of both is shared, and irrational adherence to one of the two parties is used propagandistically to mask their fundamental overlap, then we can see how Burnham’s prediction may have come to pass, despite the existence of two distinct political parties.

Granted, vegetarian naming wrests meat eating from a context of acceptance; this does not invalidate its mission. One thing must be acknowledged about vegetarian naming as exemplified in the above examples: these are true words. The dissonance they produce is not due to their being false, but to their being too accurate. These words do not adhere to our common discourse which presumes the edibility of animals. Just as feminists proclaimed that 'rape is violence, not sex,' vegetarians wish to name the violence of meat eating. Both groups challenge commonly used terms. Mary Daly calls the phrase 'forcible rape' a reversal by redundancy because it implies that all rapes are not forcible. This example highlights the role of language in masking violence, in this case an adjective deflects attention from the violence inherent in the meaning of the noun. The adjective confers a certain benignity on the word 'rape.' Similarly, the phrase 'humane slaughter' confers a certain benignity on the term 'slaughter.' Daly would call this the process of 'simple inversion': 'the usage of terms and phrases to label...activities as the opposite of what they really are.' The use of adjectives in the phrases 'humane slaughter' and 'forcible rape' promotes a conceptual misfocusing that relativizes these acts of violence. Additionally, as we ponder how the end is achieved, 'forcibly,' 'humanely,' our attention is continously framed so that the absent referents--women, animals--do not appear. Just as all rapes are forcible, all slaughter of animals for food is inhumane regardless of what it is called.

It amused him sometimes to consider that his friends, because he had a face which did not express his feelings very vividly and a rather slow way of moving, looked upon him as strong-minded, deliberate and cool. They thought him reasonable and praised his common sense; but he knew that his placid expression was no more than a mask, assumed unconsciously, which acted like the protective colouring of butterflies; and himself was astonished at the weakness of his will. It seemed to him that he was swayed by every light emotion, as though he were a leaf in the wind, and when passion seized him he was powerless. He had no self-control. He merely seemed to possess it because he was indifferent to many of the things which moved other people. He considered with some irony the philosophy which he had developed for himself, for it had not been of much use to him in the conjuncture he had passed through; and he wondered whether thought really helped a man in any of the critical affairs of life: it seemed to him rather that he was swayed by some power alien to and yet within himself, which urged him like that great wind of Hell which drove Paolo and Francesca ceaselessly on. He thought of what he was going to do and, when the time came to act, he was powerless in the grasp of instincts, emotions, he knew not what. He acted as though he were a machine driven by the two forces of his environment and personality; his reason was someone looking on, observing the facts but powerless to interfere: it was like those gods of Epicurus, who saw the doings of men from their empyrean heights and had no might to alter one smallest particle of what occurred.

I rushed to the mirror and with difficulty watched through the mask the working of my hands. But for this the mirror had just been waiting. Its moment of retaliation had come. While I strove in boundlessly increasing anguish to squeeze somehow out of my disguise, it forced me, by what means I do not know, to lift my eyes and imposed on me an image, no, a reality, a strange, unbelievable and monstrous reality, with which, against my will, I became permeated: for now the mirror was the stronger, and I was the mirror. I stared at this great, terrifying unknown before me, and it seemed to me appalling to be alone with him. But at the very moment I thought this, the worst befell: I lost all sense, I simply ceased to exist. For one second I had an indescribable, painful and futile longing for myself, then there was only he: there was nothing but he... They did not spring forward to the rescue; their cruelty knows no bounds. They stood there and laughed; my God, they could stand there and laugh. I wept, but the mask did not let the tears escape; they ran down inside over my cheeks and dried at once and ran again and dried. And at last I knelt before them, as no human being ever knelt; I knelt, and lifted up my hands and implored them: "Take me out, if you still can, and keep me", but they did not hear; I had no longer any voice. I sank down and they went on laughing, thinking that was part of it. They were used to that from me. But then I had continued to lie there and had not answered. And their fright when they finally discovered that I was unconscious and lay there like a piece of something among all those wrappings, just like a piece of something.

In order to know something, you must go back to the source. You have to be critical and wise what are the original roots and not the corrupted outcome but in order to know the truth, you have to examine all angles, all sides, all possible traces of deception, the fortress of protection of hidden elements camouflaged with what it seemed overlapping masks along a river of clear or dirty water. The water flows in varying speed depending on the atmospheric factors and men’s interventions in using the flowing water however, the stone remains. Think of the truth: many would hide it, distort it, change it, bury it, or even destroy it but the uncorrupted truth, the unparalleled truth shall always come out. How do you seek the truth? When you seek for the truth, are you guided with an honest heart? Why do you seek the truth? Or, are you among those folks who prefer to hide or bury the truth thinking that the majority won’t find it out? If and when the truth comes out, are you among those persons who will target sacrificial lambs for scapegoats? It is wise to remember that the truth however hidden shall eventually come out. A Cameroonian proverb says, "Water always finds a way out." The same thing I can say about the truth: the truth however hidden shall eventually come out. The water flows, the stones remain. The lies flow, the truth remains. The truth thrives forever." ~ Angelica Hopes, an excerpt from K.H. Trilogy

I felt Thomas studying me but no longer had the urge to mask my expression as I used to. He opened his mouth, then shut it, causing me to puzzle over what he might have said. Perhaps he’d grown as weary of having the same debate. I didn’t wish to tell anyone of our eventual betrothal until we’d spoken to my father. Thomas saw it as hesitancy on my part, a notion so ridiculous I refused to acknowledge it at all. We simply did not have the luxury of time to visit with Father and inform him of our intentions while we raced to the ship, as much as I wanted to. There wasn’t any part of me that didn’t long to be with him forever. After everything we’d been through over the last month, I thought he’d know that. A moment later, he wrapped an arm around my shoulders and tugged me near, safe in his indiscretion, since we were alone on the freezing deck. I relaxed into his embrace, letting the warmth of his body and the scent of his cologne comfort me. “I cannot promise all will be well, Audrey Rose.

In the woodblock prints of the Genroku period one often finds the features of a pair of lovers to be surprisingly similar, with little to distinguish the man from the woman. The universal ideal of beauty in Greek sculpture likewise approaches a close resemblance between the male and female. Might this not be one of the secrets of love? Might it not be that through the innermost recesses of love there courses an unattainable longing in which both the man and the woman desire to become the exact image of the other? Might not this longing drive them on, leading at last to a tragic reaction in which they seek to attain the impossible by going to the opposite extreme? In short, since their mutual love cannot achieve a perfection of mutual identity, is there not a mental process whereby each of them tries instead to emphasize their points of dissimilarity—the man his manliness and the woman her womanliness—and uses this very revolt as a form of coquetry toward the other? Or if they do achieve a similarity, it unfortunately lasts for only a fleeting moment of illusion. Because, as the girl becomes more bold and the boy more shy, there comes an instant at which they pass each other going in opposite directions, overshooting their mark and passing on beyond to some point where the mark no longer exists.

There was nothing you could be sure about, it was all lies, and it was all done to mess with minds because the control and the power trip was so important to them, as well as it being necessary in terms of screwing up anything you might remember from an evidential perspective. They would also build up your hopes, in terms of any tiny thing you did like or were less scared of, so I'd be told that it would be a nice night because Uncle Andrew would be coming, but then it wouldn't be him. There would be someone else There would be someone else who I was told was my Uncle Andrew as he was raping me. Sometimes, this other person would have a mask on but I would know that it wasn't really him. They would be the wrong height or the wrong weight or, sometimes, even obviously a woman. There were occasions when I would be told to call the person Uncle Andrew and then when I did, they would ask me why I was doing that. Sometimes he would be there, too, but that was rare. Was it Satanic? I don't know. Personally I don't believe in God or Satan or any of those things, but abusers use whatever they can to silence children because if you go to the police and say something about Satan, you are so much less likely to be believed. I personally think they were just a group of likeminded people who had no beliefs other than that they wanted to get satisfaction out of abusing children and it's as simple and horrible as that. My uncle certainly doesn't have any satanic beliefs — he just thinks that he loves children and is allowed to get sexual satisfaction from them. Why is there sex involved if it is just about Satan? Why does it always come down to them getting off? No matter what they do that's all it is, whether masturbation or penetration or humiliation, that's what it's about. I encountered people who just liked to humiliate — they wouldn't allow you to go to the bathroom, you would be given drink after drink, fizzy drinks, whatever, so you ended up absolutely desperate and that's where they got off — that's when they started to masturbate themselves, as you stood there peeing yourself. That was just awful, so humiliating. Where is God or Satan in that? (her Uncle was convicted for abusing her and jailed)

On the switchboard of my memory two pair of gloves have crossed wires - those leather gloves of Omi's and a pair of white ceremonial gloves. I never seem to be able to decide which memory might be real, which false. Perhaps the leather gloves were more in harmony with his coarse features. And yet again, precisely because of his coarse features, perhaps it was the white pair which became him more. Coarse features - even though I use the words, actually such a description is nothing more than that of the impression created by the ordinary face of one lone young man mixed in among boys. Unrivaled though his build was, in height he was by no means the tallest among us. The pretentious uniform our school required, resembling a naval officer's, could scarely hang well on our still-immature bodies, and Omi alone filled his with a sensation of solid weight and a sort of sexuality. Surely I was not the only one who looked with envious and loving eyes at the muscles of his shoulder and chest, that sort of muscle which can be spied out even beneath a blue-serge uniform. Something like a secret feeling of superiority was always hovering about his face. Perhaps it was that sort of feeling which blazes higher and higher the more one's pride is hurt. It seemed that, for Omi, such misfortunes as failures in examinations and expulsions were the symbols of a frustrated will. The will to what? I imagined vaguely that it must be some purpose toward which his 'evil genius' was driving him. And i was certain that even he did not yet know the full purport of this vast conspiracy against him.

To be exploited fundamentally means to be confused. When you're not confused you can't be exploited because you have clarity about the situation. To confuse people you must provide contradictory information. People who really want to do you harm will provide you confusing measures of good and bad feedback because that keeps you disorientated. Evil always want to camouflage itself as virtue witch means all the bad things that evil does is called justice against immorality. So they camouflage their brutality as a mask of virtue. Camouflage is so fundamentally an aspect of the predator-prey relationships. The mugger does not camouflage himself but, that's because he can leave. He is gonna run off and you'll never find him or catch him or at least that's the goal or plan right? The relationships were you're supposed to stay and continue to provide resources are the ones were camouflage is the most essential because you're constantly looking at somebody who is a predator and that have to continually camouflage themselves as somebody who is not a predator. The most fundamental thing is the camouflage of non-empathy with empathy. This is why people who lack empathy always use the language of empathy and that's whats so confusing. There are a lot of great antidotes to this. I mean, you just ask that person questions about yourself that they dont have any self interest in knowing and find out whether they know the answers. All the things personal to you that dont have any direct impact on the other person. It's a great way to find out whether they have empathy or curiosity about you or not.

Over the years I have read many, many books about the future, my ‘we’re all doomed’ books, as Connie liked to call them. ‘All the books you read are either about how grim the past was or how gruesome the future will be. It might not be that way, Douglas. Things might turn out all right.’ But these were well-researched, plausible studies, their conclusions highly persuasive, and I could become quite voluble on the subject. Take, for instance, the fate of the middle-class, into which Albie and I were born and to which Connie now belongs, albeit with some protest. In book after book I read that the middle-class are doomed. Globalisation and technology have already cut a swathe through previously secure professions, and 3D printing technology will soon wipe out the last of the manufacturing industries. The internet won’t replace those jobs, and what place for the middle-classes if twelve people can run a giant corporation? I’m no communist firebrand, but even the most rabid free-marketeer would concede that market-forces capitalism, instead of spreading wealth and security throughout the population, has grotesquely magnified the gulf between rich and poor, forcing a global workforce into dangerous, unregulated, insecure low-paid labour while rewarding only a tiny elite of businessmen and technocrats. So-called ‘secure’ professions seem less and less so; first it was the miners and the ship- and steel-workers, soon it will be the bank clerks, the librarians, the teachers, the shop-owners, the supermarket check-out staff. The scientists might survive if it’s the right type of science, but where do all the taxi-drivers in the world go when the taxis drive themselves? How do they feed their children or heat their homes and what happens when frustration turns to anger? Throw in terrorism, the seemingly insoluble problem of religious fundamentalism, the rise of the extreme right-wing, under-employed youth and the under-pensioned elderly, fragile and corrupt banking systems, the inadequacy of the health and care systems to cope with vast numbers of the sick and old, the environmental repercussions of unprecedented factory-farming, the battle for finite resources of food, water, gas and oil, the changing course of the Gulf Stream, destruction of the biosphere and the statistical probability of a global pandemic, and there really is no reason why anyone should sleep soundly ever again. By the time Albie is my age I will be long gone, or, best-case scenario, barricaded into my living module with enough rations to see out my days. But outside, I imagine vast, unregulated factories where workers count themselves lucky to toil through eighteen-hour days for less than a living wage before pulling on their gas masks to fight their way through the unemployed masses who are bartering with the mutated chickens and old tin-cans that they use for currency, those lucky workers returning to tiny, overcrowded shacks in a vast megalopolis where a tree is never seen, the air is thick with police drones, where car-bomb explosions, typhoons and freak hailstorms are so commonplace as to barely be remarked upon. Meanwhile, in literally gilded towers miles above the carcinogenic smog, the privileged 1 per cent of businessmen, celebrities and entrepreneurs look down through bullet-proof windows, accept cocktails in strange glasses from the robot waiters hovering nearby and laugh their tinkling laughs and somewhere, down there in that hellish, stewing mess of violence, poverty and desperation, is my son, Albie Petersen, a wandering minstrel with his guitar and his keen interest in photography, still refusing to wear a decent coat.

Alex, please.” He balls his fists. “Stop saying my name. You don’t know me anymore.” “I do know you.” I’m still crying, swallowing back spasms in my throat, struggling to breathe. This is a nightmare and I will wake up. This is a monster-story, and he has come back to me a terror-creation, patched together, broken and hateful, and I will wake up and he will be here, and whole, and mine again. I find his hands, lace my fingers through his even as he tries to pull away. “It’s me, Alex. Lena. Your Lena. Remember? Remember 37 Brooks, and the blanket we used to keep in the backyard—” “Don’t,” he says. His voice breaks on the word. “And I always beat you in Scrabble,” I say. I have to keep talking, and keep him here, and make him remember. “Because you always let me win. And remember how we had a picnic one time, and the only thing we could find from the store was canned spaghetti and some green beans? And you said to mix them—” “Don’t.” “And we did, and it wasn’t bad. We ate the whole stupid can, we were so hungry. And when it started to get dark you pointed to the sky, and told me there was a star for every thing you loved about me.” I’m gasping, feeling as though I am about to drown; I’m reaching for him blindly, grabbing at his collar. “Stop.” He grabs my shoulders. His face is an inch from mine but unrecognizable: a gross, contorted mask. “Just stop. No more. It’s done, okay? That’s all done now.” “Alex, please—” “Stop!” His voice rings out sharply, hard as a slap. He releases me and I stumble backward. “Alex is dead, do you hear me? All of that—what we felt, what it meant—that’s done now, okay? Buried. Blown away.” “Alex!” He has started to turn away; now he whirls around. The moon lights him stark white and furious, a camera image, two-dimensional, gripped by the flash. “I don’t love you, Lena. Do you hear me? I never loved you.” The air goes. Everything goes. “I don’t believe you.” I’m crying so hard, I can hardly speak. He takes one step toward me. And now I don’t recognize him at all. He has transformed entirely, turned into a stranger. “It was a lie. Okay? It was all a lie. Craziness, like they always said. Just forget about it. Forget it ever happened.” “Please.” I don’t know how I stay on my feet, why I don’t shatter into dust right there, why my heart keeps beating when I want it so badly to stop. “Please don’t do this, Alex.” “Stop saying my name.

His booted feet pounded out an insane, frantic rhythm underneath him as he raced into the cavern across from Baba Yaga’s den at a dead sprint. Pieces of dragon dung flew off him and hit the ground behind him in miniature chunks. He didn’t dare look behind him to see if the dragon had risen from the ground yet, but the deafening hiss that assaulted his ears meant she’d woken up. Icy claws of fear squeezed his heart with every breath as he ran, relying on the night vision goggles, the glimpse he’d gotten of the map, and his own instincts to figure out where to go. Jack raced around one corner too sharply and slipped on a piece of dung, crashing hard on his right side. He gasped as it knocked the wind out of him and gritted his teeth, his mind screaming at him to get up and run, run, run. He pushed onto his knees, nursing what felt like bruised ribs and a sprained wrist, and then paled as an unmistakable sensation traveled up the arm he’d used to push himself up. Impact tremors. Boom. Boom. Boom, boom, boom. Baba Yaga was coming. Baba Yaga was hunting him. Jack forced himself up onto his feet again, stumbling backwards and fumbling for the tracker. He got it switched on to see an ominous blob approaching from the right. He’d gotten a good lead on her—maybe a few hundred yards—but he had no way of knowing if he’d eventually run into a dead end. He couldn’t hide down here forever. He needed to get topside to join the others so they could take her down. Jack blocked out the rising crescendo of Baba Yaga’s hissing and pictured the map again. A mile up to the right had a man-made exit that spilled back up to the forest. The only problem was that it was a long passage. If Baba Yaga followed, there was a good chance she could catch up and roast him like a marshmallow. He could try to lose her in the twists and turns of the cave system, but there was a good chance he’d get lost, and Baba Yaga’s superior senses meant it would only be a matter of time before she found him. It came back to the most basic survival tactics: run or hide. Jack switched off the tracker and stuck it in his pocket, his voice ragged and shaking, but solid. “You aren’t about to die in this forest, Jackson. Move your ass.” He barreled forward into the passageway to the right in the wake of Baba Yaga’s ominous, bubbling warning, barely suppressing a groan as a spike of pain lanced through his chest from his bruised ribs. The adrenaline would only hold for so long. He could make it about halfway there before it ran out. Cold sweat plastered the mask to his face and ran down into his eyes. The tunnel stretched onward forever before him. No sunlight in sight. Had he been wrong? Jack ripped off the hood and cold air slapped his face, making his eyes water. He held his hands out to make sure he wouldn’t bounce off one of the cavern walls and squinted up ahead as he turned the corner into the straightaway. There, faintly, he could see the pale glow of the exit. Gasping for air, he collapsed against one wall and tried to catch his breath before the final marathon. He had to have put some amount of distance between himself and the dragon by now. “Who knows?” Jack panted. “Maybe she got annoyed and turned around.” An earth-shattering roar rocked the very walls of the cavern. Jack paled. Boom, boom, boom, boom! Boom, boom, boom, boomboomboomboom— Mother of God. The dragon had broken into a run. Jack shoved himself away from the wall, lowered his head, and ran as fast as his legs would carry him.

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.