Version Short Quotes

I don't put up with being messed around, and I don't suffer fools gladly. The short version of that is that I'm a bitch. Trust me, I can provide character references.

Now tell me something. What’s your word for husband?” “Hellren, I suppose. The short version is just hell.” She laughed softly. “Go figure.

But isn’t being alone closer to the truest version of ourselves, when we’re not linked to another, not diluted by their presence and judgments? We form relationships with others, friends, family. That’s fine. Those relationships don’t bind the way love does. We can still have lovers, short-term. But only when alone can we focus on ourselves, know ourselves. How can we know ourselves without this solitude?

Jules she said impulsively. " can I stay?" It was there code, the short version of the longer request; stay and make me forget my nightmares. stay and sleep next to me. Stay and chase the bad dreams away, the memories of blood, of dead parents, of endarkened warriors with eyes like dead black coals, it was a request they'd both made, more than once. -Cassandra Clare - lady midnight

We leave such a trail of bodies through our teens and twenties that it's hard to tell which one is us. How many versions do we abandon over the years

For time is short and the unknown surrounds us; and it isn't enough just to live unthinking and happy, calmly bearing oppression and only learning wisdom with age.

To give the short version, I've learnt that every human being, with or without disabilities, needs to strive to do their best, and by striving for happiness you will arrive at happiness. For us, you see, having autism is normal -- so we can't know for sure what your 'normal' is even like. But so long as we can learn to love ourselves, I'm not sure how much it matters whether we're normal or austitic.

If you're short on time, that would be the two-word version of our story: we fell.

I am what some would say 'holy, and wholly other than you.' The problem is that many folks try to grasp some sense of who I am by taking the best version of themselves, projecting that to the nth degree, factoring in all the goodness they can perceive, which often isn't much, and then call that God. And while it may seem like a noble effort, the truth is that it falls pitifully short of who I really am. I'm not merely the best version of you that you can think of. I am far more than that, above and beyond all that you can ask or think.

There is a world out there, so new, so random and disassociated that it puts us all in danger. We talk online, we ‘friend’ each other when we don’t know who we are really talking to – we fuck strangers. We mistake almost anything for a relationship, a community of sorts, and yet, when we are with our families, in our communities, we are clueless, we short-circuit and immediately dive back into the digitized version – it is easier, because we can be both our truer selves and our fantasy selves all at once, with each carrying equal weight.

Forever is a hypnotic version of infinity.

Once you have realised that there is no objective external world to be found; that what you know is only a filtered and processed version, then it is a short step to the thought that, in that case, other people too are nothing but a processed shadow, and but a short step more to the belief that every person must somehow be shut away, isolated behind their own unreliable sensory apparatus. And then the thought springs easily to mind that man is, fundamentally, alone. That the world is made up of disconnected consciousnesses, each isolated within the illusion created by its own senses, floating in a featureless vacuum. He does not put it so bluntly, but the idea is not far away. That, fundamentally, man is alone.

Other translations may engage the mind, but the King James Version is the Bible of the heart.

In some ways, it's easier to settle for someone else's version of success than to risk falling short at one's own.

You are revolutionary. You have amazing ideas. You have the ability to create, to change, to solve, and to influence. Don't sell yourself short by not spending your time, energy, and money on creating the best version of yourself.

The Beginning of the End can feel a lot like the middle when you are living in it. When I was a kid I couldn't see any of these ridges. It was only after Swamplandia!'s fall that time folded into a story with a beginning, a middle, and an ending. If you're short on time, that would be the two-word version of our story: we fell.

But if you write a version of Ragnarok in the twenty-first century, it is haunted by the imagining of a different end of things. We are a species of animal which is bringing about the end of the world we were born into. Not out of evil or malice, or not mainly, but because of a lopsided mixture of extraordinary cleverness, extraordinary greed, extraordinary proliferation of our own kind, and a biologically built-in short-sightedness.

Journalists can sound grandiose when they talk about their profession. Some of us are adrenaline junkies; some of us are escapists; some of us do wreck our personal lives and hurt those who love us most. This work can destroy people. I have seen so many friends and colleagues become unrecognizable from trauma: short-tempered, sleepless, and alienated from friends. But after years of witnessing so much suffering in the world, we find it hard to acknowledge that lucky, free, prosperous people like us might be suffering, too. We feel more comfortable in the darkest places than we do back home, where life seems too simple and too easy. We don’t listen to that inner voice that says it is time to take a break from documenting other people’s lives and start building our own. Under it all, however, are the things that sustain us and bring us together: the privilege of witnessing things that others do not; an idealistic belief that a photograph might affect people’s souls; the thrill of creating art and contributing to the world’s database of knowledge. When I return home and rationally consider the risks, the choices are difficult. But when I am doing my work, I am alive and I am me. It’s what I do. I am sure there are other versions of happiness, but this one is mine.

This book was written under the umbrella of self-acceptance. The sooner we are okay with being different from one another, the sooner we can get on with being the best version of ourselves and love how we were created.

The answer to that is complicated.” “Give me the short version.” “The short version is ‘Yes, but.’ The slightly longer version is ‘No, and.’ Which version would you like?

Short version: it doesn't matter how many bad decisions you just made, your job is to make the next one correct.

The models we have, and the standards we are expected to maintain, come to us via heterosexuality as a normative state. Heterosexuality--whatever the current version of that concept happens to be--is unremarkable because it is the standard by which everything else is measured. That is heterosexual privilege.

Sometimes the news so shocks the mind that the brain suffers an electrical short. This phenomenon is known as a “psychogenic” syndrome, a severe version of the swoon some experience after hearing bad news.

If Moscow rules meant watch your back, London rules meant cover your arse. Moscow rules had been written on the streets, but London rules were devised in the corridors of Westminster, and the short version read: someone always pays. Make sure it isn’t you. Nobody knew that better than Jackson Lamb. And nobody played it better than Di Taverner.

So online, I’m Bookworm Babe, or BB for short. Despite what my sister says about romance novels (she views them with a high level of disdain), I’ve always loved them. There’s simply nothing that beats getting lost in another version of reality. The heady rush of passion when two would-be lovers meet, the swirl of emotions in a fledgling relationship—I’m addicted to that shit. I lose sleep over

If democracy and self-rule are the fundamentals, then why should people give up these rights when they enter their workplace? In politics we fight like tigers for freedom, for the right to elect our leaders, for freedom of movement, choice of residence, choice of what work to pursue— control of our lives, in short. And then we wake up in the morning and go to work, and all those rights disappear. We no longer insist on them. And so for most of the day we return to feudalism. That is what capitalism is— a version of feudalism in which capital replaces land, and business leaders replace kings. But the hierarchy remains. And so we still hand over our lives’ labor, under duress, to feed rulers who do no real work.

What are you doing eight states away from home, Mr. Noel Springs? What’s your story?” “Short version?” I couldn’t resist flirting, just a little. “Long. Short. Whatever ya got.

Effective parenting requires being the grown up version of what you want your children to be. Why? Because example is the most compelling superpower.

The short version was death, disease, despots and destruction. The longer version had kept him up wondering what the hell was wrong with people.

The farmhouse sat on a rise at the end of a long dirt road, in a clearing surrounded by fruit trees and ninety acres of pines. It was painted white, and peeling, and some former hippie tenant had painted a mandala on the wall just inside the door with fine-point Magic Marker. I painted over it, but it bled through, again and again. I finally left it there, a pale and pastel version of itself, hanging ghostlike in the hall.

If you have half a nothing - sell it for a double something, resell half at double-price, and buy another something and a half - how much nothing will you have two days from then? Like three. Because three is the short version of π, and π is involved in virtually anything, in some form, if you believe what the internet tells you.

What do you think of Lord St. Vincent?” Pandora asked eagerly. West’s gaze moved to a man who appeared to be a younger version of his sire, with bronze-gold hair that gleamed like new-minted coins. Princely handsome. A cross between Adonis and the Royal Coronation Coach. With deliberate casualness, West said, “He’s not as tall as I expected.” Pandora looked affronted. “He’s every bit as tall as you!” “I’ll eat my hat if he’s an inch over four foot seven.” West clicked his tongue in a few disapproving tsk-tsks. “And still in short trousers.” Half annoyed, half amused, Pandora gave him a little shove. “That’s his younger brother Ivo, who is eleven. The one next to him is my fiancé.” “Aah. Well, I can see why you’d want to marry that one.

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

Our northern summers, though, are versions Of southern winters, this is clear; And though we’re loath to cast aspersions, They seem to go before they’re here! The sky breathed autumn, turned and darkled; The friendly sun less often sparkled; The days grew short and as they sped, The wood with mournful murmur shed Its wondrous veil to stand uncovered; The fields all lay in misty peace; The caravan of cackling geese Turned south; and all around there hovered The sombre season near at hand; November marched across the land.

It’s a long story,” I said. “The short version is Diesel and I are pretending to get married, so we can get Kloughn to marry Valerie.” “Does Morelli know about this?” “It’s pretend.” “I’m not even gonna ask if Ranger knows. Poor ol’ Diesel here be dead if Ranger knew.

Objectifying myself could never make me happy, she said, though she was wrong. Her version of feminism was outdated, too rigid to work in the real, digital world where I was in control of my body, my content, and smart to leverage the short blush of my youth for what was permanent and sure:

That was when I realized I had no control over my actions anymore. All I knew was that though no one knew what hell felt like, my life had become a version of fire and brimstone. My restrictive anorexia was completely and inexorably interfering with my ability to live like a normal human being.

In his short story “Funes the Memorious,” Jorge Luis Borges describes a fictional version of S, a man with an infallible memory who is crippled by an inability to forget. He can’t distinguish between the trivial and the important. Borges’s character Funes can’t prioritize, can’t generalize. He is “virtually incapable of general, platonic ideas.” Like S, his memory was too good. Perhaps, as Borges concludes in his story, it is forgetting, not remembering, that is the essence of what makes us human. To make sense of the world, we must filter it. “To think,” Borges writes, “is to forget.

Good,” she replied. “That’s why you show promise. Not only are you able to recognize your shortcomings, you have an undeniable hunger to change for the better and evolve. What’s truly amazing is what you’ve become in so short a time. Most humans would have imploded after a fraction of what you’ve lived through.” “Guess it comes from being stuck in a moment for so long, treading water and losing ground no matter how hard I swam. It’s almost as if the current has shifted and now I’m swimming at blazing speeds like some human version of the Nautilus that has slipped into the Gulf Stream.

Before he could start asking, a family joined them in the wait for the elevator, the daughters running around, the parents looking like they were stuck in a version of hell that smelled like bubble gum, and was populated by short demons in matching fairy princess outfits that asked for ice cream every three minutes.

If you have realistic ideals and can generally live up to them, your self-esteem will not be threatened. If your ideals are exaggerated and you cannot reach them, your good feelings from successes may be short lived, and you may feel that you are never good enough. The continued hope for the impossible, the expectation that you will or can be unconditionally loved and adored, is not facing reality but rather holding onto an idealized image of yourself and an idealized version of what others can provide. If this is the case, your sense of self may be threatened by shame and its resulting depression, or by feelings of inadequacy for not living up to your unrealistic ideals. A better understanding of shame may help you recognize your tendency to hide what you feel from yourself and others.

So far, all those who have tried to impose their version of what's right on others have failed. After a few years, or even longer, people always want their freedom and their own rights back. This is because having to obey one concept of right is inherently unjust. God has given each of us a unique sense of right, so when we are forced to live under someone else's for years and years, we run the risk of losing our own. But not everyone can be crushed. Sooner or later the longing for freedom is bound to assert itself. “Without realizing it, I've gone from justice to freedom, but I believe that it is only when these two are combined that something great will happen. “Who knows, perhaps one day people will listen more to that ‘little bit of God—known as a conscience—than to their own desires!

The site of the whale fall turns into a decades-long version of “Be Our Guest” from Beauty and the Beast, a debauched, celebratory party where creatures devour the whale “course by course, one by one.” The whale is the epitome of a postmortem benefactor, part of an arrangement as beautiful as it is sensible—an animal dying and donating its body so that others may thrive. “Try the grey stuff, it’s delicious,” the carcass seems to say. The whale, in short, is a valuable necrocitizen.

I pulled the lever repeatedly not even paying attention to whether or not I was winning anything. Her voice startled me. “You look like you have something on your mind.” “I do?” “Who is he, and what did he do?” I’d never see this woman again after today. Maybe I should just let it all out. “You want the long version or the short version?” “I’m ninety, and the dinner buffet opens in five minutes. Give me the short version.” “Okay. I’m here with my stepbrother. Seven years ago, we slept together right before he moved away.” “Taboo…I like it. Go on.” I laughed. “Okay…well, he was the first and last guy I ever really cared about. I never thought I’d see him again. His father died this week, and he came back for the funeral. He wasn’t alone. He brought a girl he supposedly loves. I know she loves him. She’s a good person. She had to go back to California early. Somehow, I ended up at this casino with him. He leaves tomorrow.” A single teardrop fell down my face. “It looks to me like you still care about him.” “I do.” “Well, then you have twenty-four hours.” “No, I don’t plan to screw things up for him.” “Is he married?” “No.” “Then, you have twenty-four hours.” She looked at her watch and leaned on her walker to stand herself up. She gave me her hand. “I’m Evelyn.” “Hi, Evelyn. I’m Greta.” “Greta…fate gave you an opportunity. Don’t fuck it up,” she said before she scooted away on the walker.

ROM16.20 And the God of peace shall bruise Satan under your feet shortly. The grace of our Lord Jesus Christ be with you. Amen.

And trust me, you could get into business with your bestest-bestie-best-BFFL-friend ever, and something will undoubtedly happen. The short version: get it in writing.

You know those high school teachers who so quintessentially and stereotypically embody their subject matter that it is as if they were cast by a director? Mr. Carter was like that. I did not know they still made glasses like his glasses. He told us his dog was named “Dooty,” short for Dooty Dexy, which is a phoneticized version of the calculus formula for second derivatives.

The physicist Leo Szilard once announced to his friend Hans Bethe that he was thinking of keeping a diary: ‘I don’t intend to publish. I am merely going to record the facts for the information of God.’ ‘Don’t you think God knows the facts?’ Bethe asked. ‘Yes,’ said Szilard. ‘He knows the facts, but He does not know this version of the facts.’ Hans Christian von Baeyer, Taming the Atom

The root of disaster means a star coming apart, and no image expresses better the look in a patient’s eyes when hearing a neurosurgeon’s diagnosis. Sometimes the news so shocks the mind that the brain suffers an electrical short. This phenomenon is known as a “psychogenic” syndrome, a severe version of the swoon some experience after hearing bad news. When my mother, alone at college, heard that her father, who had championed her right to an education in rural 1960s India, had finally died after a long hospitalization, she had a psychogenic seizure—which continued until she returned home to attend the funeral.

Here’s the short version of how to practice mindfuless: 1. Start with two minutes. For two minutes a day, direct your attention to your breath: the way the air comes into your body and your chest and belly expand, and the way the breath leaves your body and your chest and belly deflate. 2. The first thing that will happen is your mind will wander to something else. That’s normal. That’s healthy. That’s actually the point. Notice that your mind wandered, let those extraneous thoughts go—you can return to them as soon as the two minutes are up—and allow your attention to return to your breath. 3. Noticing that your mind wandered and then returning your attention to your breath is the real work of mindfulness. It’s not so much about paying attention to your breath as it is about noticing what you’re paying attention to without judgment, and making a choice about whether you want to pay attention to it. What you’re “mindful” of is both your breath and your attention to your breath. By practicing this skill of noticing what you’re paying attention to, you are teaching yourself to be in control of your brain, so that your brain is not in control of you. This regular two-minute practice will gradually result in periodic moments throughout the day when you notice what you’re paying attention to and then decide if that’s what you want to pay attention to right now, or if you want to pay attention to something else. What you pay attention to matters less than how you pay attention. This is a sideways strategy for weeding trauma out of your garden. It’s a way of simply noticing a weed and then deciding if you want to water it or not, pull it or not, fertilize it or not. The weed of trauma will gradually disappear as long as at least half the time you choose not to nurture it. And the more you choose to withdraw your protection from the trauma, the faster it will wither and die. Mindfulness is good for everyone and everything. It is to your mind what exercise and green vegetables are to your body. If you change only one thing in your life as a result of reading this book, make it this daily two-minute practice. The practice grants the opportunity to “cultivate deep respect for emotions,” differentiating their causes from their effects and granting you choice over how you manage them.

In The Invention of Literature (1999), the classical scholar Florence Dupont reminds us that many of the greatest works of human imagination were created to be performed, to be heard. Before the printing press and mass literacy, the written versions existed as blueprints or records of performances, recitals, speeches, songs, and other forms of oral communication. Voicing was an art of living creators, and the voice of the storyteller was

Each of us places varying degrees of significance on what’s really relevant and important, and we can almost always find fault with the way someone else is thinking or behaving. We can usually validate our own versions of reality by focusing on examples that, we believe, prove us to be right. In short, the way we see life will always seem justified, logical, and correct—to ourselves. The problem is, everyone else has the same assumption.

we as authors have been writing about people we aren't for forever. We find a way to empathise, we find a way in. Female characters are no different. All they are are characters. They are people too. Instead of asking yourself, "How do I write this female soldier?" ask yourself, "How do I write this soldier? Where is she from, how was she raised, does she have a sense of humour? Is she big and tall, is she short and petite? How does her size affect her ability to fight? What is her favourite weapon, her least favourite? Why? Is she more logical than emotional? The other way around? Was she an only child and spoiled, was she the eldest of six siblings and a surrogate mother? How does that upbringing affect how she interacts with her team? etc etc and so forth." Notice how the first question gets you some kind of broad, generalised answer, likely resulting in a stereotype, and how the second version asks lots and lots of smaller questions with the goal of creating someone well rounded. One would hope, really, that we as authors ask such detailed questions of all our characters, regardless of gender. So let me, at long last, actually answer the original question: "How do I write a female character?" Write her the way you would write any other character. Give her dimension, give her strength but please also don't forget to give her weaknesses (for a totally strong nothing can beat her kind of girl is not a person, she's again a type - the polar opposite yet exactly the same as the damsel in distress). Create a person.

To most people today, the name Snow White evokes visions of dwarfs whistling as they work, and a wide–eyed, fluttery princess singing, "Some day my prince will come." (A friend of mine claims this song is responsible for the problems of a whole generation of American women.) Yet the Snow White theme is one of the darkest and strangest to be found in the fairy tale canon — a chilling tale of murderous rivalry, adolescent sexual ripening, poisoned gifts, blood on snow, witchcraft, and ritual cannibalism. . .in short, not a tale originally intended for children's tender ears. Disney's well–known film version of the story, released in 1937, was ostensibly based on the German tale popularized by the Brothers Grimm. Originally titled "Snow–drop" and published in Kinder–und Hausmarchen in 1812, the Grimms' "Snow White" is a darker, chillier story than the musical Disney cartoon, yet it too had been cleaned up for publication, edited to emphasize the good Protestant values held by Jacob and Wilhelm Grimm. (...) Variants of Snow White were popular around the world long before the Grimms claimed it for Germany, but their version of the story (along with Walt Disney's) is the one that most people know today. Elements from the story can be traced back to the oldest oral tales of antiquity, but the earliest known written version was published in Italy in 1634.

One salutary development in recent ethical theorizing is the widespread recognition that no short argument will serve to eliminate any of the major metaethical positions. Such theories have to weave together views in semantics, epistemology, moral psychology and metaphysics. The comprehensive, holistic character of much recent theorizing suggests the futility of fastening on just a single sort of argument to refute a developed version of realism or antirealism. No one any longer thinks that ethical naturalism can be undermined in a single stroke by the open question argument, or that appeal to the descriptive semantics of moral discourse is sufficient to refute noncognitivism.

But right here, right now, in the center of this wound—I’ve been abandoned and betrayed by who and what really matters and what I’ve got left is food—is where the link between food and God exists. It marks the moment when we gave up on ourselves, on change, on life. It marks the place where we are afraid. It marks the feelings we won’t allow ourselves to feel, and in so doing, keeps our lives constricted and dry and stale. In that isolated place, it is a short step to the conclusion that God—where goodness and healing and love exist—abandoned us, betrayed us or is a supernatural version of our parents. Our practice at the retreats of working through this despair is not one of exerting will or conjuring up faith, but being curious, gentle and engaged with the cynicism, the hopelessness, the anger.

Mackenzie, I am what some would say ‘holy, and wholly other than you.’ The problem is that many folks try to grasp some sense of who I am by taking the best version of themselves, projecting that to the nth degree, factoring in all the goodness they can perceive, which often isn’t much, and then call that God. And while it may seem like a noble effort, the truth is that it falls pitifully short of who I really am. I’m not merely the best version of you that you can think of. I am far more than that, above and beyond all that you can ask or think.

Here is the short version of the Kool-Aid Fallacy: Cult … therefore Jim Jones … therefore mass suicide … therefore Kool-Aid. It’s astonishing how much of social media now revolves around simple word association sequences. Absolutely no thought goes into anything. No one ever delivers an actual argument. If they ever do attempt an argument, their punctuation, spelling, grammar, logic and general education are not up to the task, and soon dissolve into meaningless mush. But usually they just hurry on to the insults and ad hominem attacks, which is the part they love. Before long, the Kool-Aid fallacy is eagerly applied. Every argument should have a Dunning-Kruger quotient associated with it. Most people are 100% on the Dunning-Kruger scale. They imagine themselves geniuses, and geniuses dunces. As ever, they have inverted reality.

The best description of this book is found within the title. The full title of this book is: "This is the story my great-grandfather told my father, who then told my grandfather, who then told me about how The Mythical Mr. Boo, Charles Manseur Fizzlebush Grissham III, better known as Mr. Fizzlebush, and Orafoura are all in fact me and Dora J. Arod, who sometimes shares my pen, paper, thoughts, mind, body, and soul, because Dora J. Arod is my pseudonym, as he/it incorporates both my first and middle name, and is also a palindrome that can be read forwards or backwards no matter if you are an upright man in the eyes of God or you are upside down in a tank of water wearing purple goggles and grape jelly discussing how best to spread your time between your work, your wife, and the toasted bread being eaten by the man you are talking to who goes by the name of Dendrite McDowell, who is only wearing a towel on his head and has an hourglass obscuring his “time machine”--or the thing that he says can keep him young forever by producing young versions of himself the way I avert disaster in that I ramble and bumble like a bee until I pollinate my way through flowery situations that might otherwise have ended up being more than less than, but not equal to two short parallel lines stacked on top of each other that mathematicians use to balance equations like a tightrope walker running on a wire stretched between two white stretched limos parked on a long cloud that looks like Salt Lake City minus the sodium and Mormons, but with a dash of pepper and Protestants, who may or may not be spiritual descendents of Mr. Maynot, who didn’t come over to America in the Mayflower, but only because he was “Too lazy to get off the sofa,” and therefore impacted this continent centuries before the first television was ever thrown out of a speeding vehicle at a man who looked exactly like my great-grandfather, who happens to look exactly like the clone science has yet to allow me to create

She bit the inside of her cheek. “You wouldn’t keep secrets from me, would you? I mean we’ve been friends how long?” "We have been friends, thirteen years, eight months, two weeks, four days,” The wheelchair stopped and Ari watched the long shadow look at his watch. “Sixteen hours, four minutes and forty seven seconds and counting I’d say; give or take thirty minutes. Or if you want the short version: five thousand and four days plus or minus a few hours." She put her hands to her face and laughed to keep from crying. “Please tell me you made half of that up. Who actually keeps track of time like that?

On our walk around the block, themes we’ve lost touch with – childhood, an odd dream we had recently, a friend we haven’t seen for years, a big task we had always told ourselves we’d undertake – float into our attention. In physical terms, we’re hardly going any distance at all, but we’re crossing acres of mental territory. A short while later, we’ll be back at home once again. No one has missed us, or perhaps even noticed that we’ve been out. Yet we are subtly different: a slightly more complete, more visionary, courageous and imaginative version of the person we knew how to be before we wisely went on a modest journey.

I've decided that mixing is a key term. It's better than suggestion, which is one-sided. It explains what people rarely talk about, because we define ourselves as isolated, closed bodies who bump up against each other but stay shut. Descartes was wrong. It isn't: I think, there I am. It's: I am because you are. That's Hegel - well, the short version.

I have underlined words and sentences in one of the Bibles that has always been my study Bible, but when I look at those words and sentences now, I can’t remember why they were underlined. One day I was rereading a short story by Joanne Greenberg, and I came across a long passage that I had marked off, but as I looked at it, I couldn't remember why. Perhaps I had meant to ask her about it the next time we talked on the phone, but now I have no idea what it could be that I wanted to ask her. My Revised Standard version of the Bible is filled with markings, for I have gone through it word for word with study groups at least four times, and of course, I have used it on various occasions to begin speeches. I know that the underlined passages served some purpose, but here and there are verses that have no special meaning to me. It is almost as if a friend had secretly opened the book and made some markings just to tease me. What was the spirit trying to say to me then that I no longer need to hear? Or, what was I listening for then that I no longer care about?

they’re selling is not real sex. It lacks connection, respect, and vulnerability, which is what makes sex sexy. “This kind of porn is sold by people who are like drug dealers. They sell a product that fills people with a rush that feels like joy for a short while but then becomes a killer of real joy. Over time people prefer the rush of drugs to the real joy of life. Many who start watching porn very young will get hooked on the rush. Eventually they will find it hard to enjoy real sex with real human beings. “Trying to learn about sex from porn is like trying to learn about the mountains by sniffing one of those air fresheners they sell at the gas station. When you finally get to the real mountains and breathe in that pure, wild air—you might be confused. You might wish it smelled like that fake, manufactured air-freshener version. “We don’t want you to stay away from porn while you’re young because sex is bad. We want you to stay away from porn because real sex—with humanity and vulnerability and love—is indescribably good. We don’t want fake sex ruining

I paused, causing her to stumble into my chest. My thumb and forefinger grasped her chin, forcing her to look up at me. “Try me.” Ava blinked, her breaths coming out in short, shallow puffs. “My favorite color.” “Yellow.” “My favorite ice cream flavor.” “Mint chocolate chip.” Her chest rose and fell harder. “My favorite season.” “Summer, because of the warmth and sunshine and greenery. But secretly, winter fascinates you.” I lowered my head until my own breath skated over her skin and her scent crawled into my nostrils, drugging me, turning my voice into a hoarse, sinful version of itself. “It speaks to the darkest parts of your soul. The manifestations of your nightmares. It’s everything you fear, and for that, you love it. Because the fear makes you feel alive.

continued. “The solution to almost every problem imaginable can be found in the outcome of a fairy tale. Fairy tales are life lessons disguised with colorful characters and situations. “‘The Boy Who Cried Wolf ’ teaches us the value of a good reputation and the power of honesty. ‘Cinderella’ shows us the rewards of having a good heart. ‘The Ugly Duckling’ teaches us the meaning of inner beauty.” Alex’s eyes were wide, and she nodded in agreement. She was a pretty girl with bright blue eyes and short strawberry-blonde hair that was always kept neatly out of her face with a headband. The way the other students stared at their teacher, as if the lesson being taught were in another language, was something Mrs. Peters had never grown accustomed to. So, Mrs. Peters would often direct entire lessons to the front row, where Alex sat. Mrs. Peters was a tall, thin woman who always wore dresses that resembled old, patterned sofas. Her hair was dark and curly and sat perfectly on the top of her head like a hat (and her students often thought it was). Through a pair of thick glasses, her eyes were permanently squinted from all the judgmental looks she had given her classes over the years. “Sadly, these timeless tales are no longer relevant in our society,” Mrs. Peters said. “We have traded their brilliant teachings for small-minded entertainment like television and video games. Parents now let obnoxious cartoons and violent movies influence their children. “The only exposure to the tales some children acquire are versions bastardized by film companies. Fairy

Let me be absolutely clear: Tumnus was an idiot. He was absolutely NOT a spy for the White Witch. That dude couldn’t have spied on a blind unicorn. He was a deadbeat who spent most of his time sitting on street corners, playing his pan flute, and panhandling for change. He was on the Narnia version of welfare, and he told the White Witch about Lucy in the hopes of getting some kind of handout.

Then Toraf opens the passenger side door…Wait. That’s not Toraf. I’ve never seen this man before, yet he’s eerily familiar. His silhouette sitting next to Galen was definitely classic Syrena male, but the glare from the sun had hidden his face. I’d naturally just assumed that where there’s a Galen, there’s a Toraf. Now that his face is in full view though, I see that this man looks like a slightly older version of Galen. Slightly older as in slightly more jaded. Other than that, he could be his twin brother. It may be because he’s wearing some of Galen’s clothes, a wrinkled brown polo shirt and plaid shorts. But he shares other things, too, besides clothes. He’s handsome like Galen, with the same strong jaw and the same eyebrow shape and the way he’s wearing the same expression on his face that Galen is-that he’s found what he’s been looking for. Only, the stranger’s expression clearly divulges that he’s been looking for a lot longer than Galen has-and this man is not looking at me. And that’s when I know just exactly who he is. That’s when I believe the look in Galen’s eyes. That he didn’t lie to me, that he loves me. Because this man has to be Grom. Mom confirms it with a half cry, half growl. “No. No. It can’t be.” Even if she weren’t handcuffed to Rachel right now, I’m not sure she’d actually be able to move. Disbelief has a special way of paralyzing you. With every step the man takes toward Rachel’s car, he shakes his head more vigorously. It’s like he’s deliberately taking his time, drinking in the moment, or maybe he just can’t believe this moment is actually happening. Yep, disbelief is a cruel hag.

The porn kids come across on the internet, is misogynistic poison. We have to explain that to them so they don't think sex is about violence. Sex is a wonderful and exciting thing about being human. It is natural to be curious about sex and when we are curious about things, we turn to the internet for information. But here's the problem with using the internet to learn about sex: you cannot know who is doing the teaching. There are people who have taken sex and sucked all the life out of it to package it and sell it on the internet. What they’re selling is not real sex. It lacks connection, respect, and vulnerability, which is what makes sex sexy. This kind of porn is sold by people who are like drug dealers. They sell a product that fills people with a rush that feels like joy for a short while but then becomes a killer of real joy. Over time people prefer the rush of drugs to the real joy of life. Many who start watching porn very young will get hooked on the rush. Eventually, they will find it hard to enjoy real sex with real human beings. Trying to learn about sex from porn is like trying to learn about the mountains by sniffing one of those air fresheners they sell at the gas station. When you finally get to the real mountains and breathe in that pure, wild air—you might be confused. You might wish it smelled like that fake, manufactured air freshener version. We don’t want you to stay away from porn while you’re young because sex is bad. We want you to stay away from porn because real sex—with humanity and vulnerability and love—is indescribably good. We don’t want fake sex ruining real sex for you.

So, there were seaweed people and sky people. In time the seaweed people and the sky people found attraction in each other, and intermarried and became the Irish. That’s the short version. That’s why some of us are always longing for sky and some are of us are longing for the sea, and some, like my father, were both. We’re a race of elsewhere people. That’s what makes us the best saints and the best poets and the best musicians and the world’s worst bankers. That’s why wherever you go you’ll see some of us – and it makes no difference if the place is soft and warm and lovely and there’s not a thing anyone could find wrong with it, there’ll always be what Jimmy the Yank calls A Hankering. It’s in the eyes. The idea of the better home. Some of us have it worse than others. My father had it running in the rivers of him.

Akos had appeared in my doorway, his short brown hair sticking out in all directions, leaning into the wood. “What,” he said, eyes wide, “is that sound?” In spite of the current’s pain shooting through me, I laughed. I had never seen him this disheveled before. His drawstring pants were twisted halfway around, and his cheek bore the red imprint of creased sheets. “It’s just the start of the Sojourn Festival,” I said. “Relax. Untwist your pants.” His cheeks turned faintly pink, and he righted the waistband of his pants. “Well, how was I supposed to know that?” he replied irritably. “Next time, when something that sounds remarkably like war drums is going to wake me at dawn, could you maybe warn me?” “You’re determined to deprive me of fun.” “That’s because apparently, your version of ‘fun’ is making me believe I’m in mortal peril.

The fear Jackson refers to is not fear of lesbianism—or, at least, not only fear of lesbianism. It is the fear of what lesbianism represented to her, something that on one level she fervently desired even as she feared it: a life undefined by marriage, on her own terms. Constance and Merricat are indeed “two halves of the same person,” together forming one identity, just as a man and a woman are traditionally supposed to do in marriage. Not finding that wholeness in marriage, Jackson sought it elsewhere: first with Jeanne Beatty, and later with her friend Barbara Karmiller, also younger, who came back into her life shortly after she finished Castle. Indeed, the novel, in its final version, is not about “two women murdering a man.” It is about two women who metaphorically murder male society and its expectations for them by insisting on living separate from it, governed only by themselves.

My four things I care about are truth, meaning, fitness and grace. [...] Sam [Harris] would like to make an argument that the better and more rational our thinking is, the more it can do everything that religion once did. [...] I think about my personal physics hero, Dirac – who was the guy who came up with the equation for the electron, less well-known than the Einstein equations but arguably even more beautiful...in order to predict that, he needed a positively-charged and a negatively-charged particle, and the only two known at the time were the electron and the proton to make up, let's say, a hydrogen atom. Well, the proton is quite a bit heavier than the electron and so he told the story that wasn't really true, where the proton was the anti-particle of the electron, and Heisenberg pointed out that that couldn't be because the masses are too far off and they have to be equal. Well, a short time later, the anti-electron -- the positron, that is -- was found, I guess by Anderson at Caltech in the early 30s and then an anti-proton was created some time later. So it turned out that the story had more meaning than the exact version of the story...so the story was sort of more true than the version of the story that was originally told. And I could tell you a similar story with Einstein, I could tell it to you with Darwin, who, you know, didn't fully understand the implications of his theory, as is evidenced by his screwing up a particular kind of orchid in his later work...not understanding that his theory completely explained that orchid! So there's all sorts of ways in which we get the...the truth wrong the first several times we try it, but the meaning of the story that we tell somehow remains intact. And I think that that's a very difficult lesson for people who just want to say, 'Look, I want to'...you know, Feynman would say, "If an experiment disagrees with you, then you're wrong' and it's a very appealing story to tell to people – but it's also worth noting that Feynman never got a physical law of nature and it may be that he was too wedded to this kind of rude judgment of the unforgiving. Imagine you were innovating in Brazilian jiu-jitsu. The first few times might not actually work. But if you told yourself the story, 'No, no, no – this is actually genius and it's working; no, you just lost three consecutive bouts' -- well, that may give you the ability to eventually perfect the move, perfect the technique, even though you were lying to yourself during the period in which it was being set up. It's a little bit like the difference between scaffolding and a building. And too often, people who are crazy about truth reject scaffolding, which is an intermediate stage in getting to the final truth.

Paul closed his eyes and turned his face to the sun. In spite of everything, it was hard not to take solace from the warmth flooding onto his skin. He stretched the muscles in his arms, his shoulders, his back -- and it felt like he was reaching out from the "self" in his virtual skull to all his mathematical flesh, imprinting the nebulous data with meaning; binding it all together, staking some kind of claim. He felt the stirrings of an erection. Existence was beginning to seduce him. He let himself surrender for a moment to a visceral sense of identity which drowned out all his pale mental images of optical processors, all his abstract reflections on the software's approximations and short-cuts. This body didn't want to evaporate. This body didn't want to bale out. It didn't much care that there was another -- "more real" -- version of itself elsewhere. It wanted to retain its wholeness. It wanted to endure.

They took an alga that is normally single-celled and let it live in the lab for over a thousand generations. Then they introduced a predator: a single-celled creature with a flagellum that engulfs other microbes to ingest them. In less than two hundred generations, the alga responded by becoming a clump of hundreds of cells; over time, the number of cells dropped until there were only eight in each clump. Eight turned out to be the optimum because it made clumps large enough to avoid being eaten but small enough so that each cell could pick up light to survive. The most surprising thing happened when the predator was removed: the algae continued to reproduce and form individuals with eight cells. In short, a simple version of a multicellular form had arisen from a no-body. If an experiment can produce a simple body-like organization from a no-body in several years, imagine what could happen in billions of years.

many folks try to grasp some sense of who I am by taking the best version of themselves, projecting that to the nth degree, factoring in all the goodness they can perceive, which often isn’t much, and then calling that God. And while it may seem like a noble effort, the truth is that it falls pitifully short of who I really am. I’m not merely the best version of you that you can think of. I am far more than that, above and beyond all that you can ask or think.

In the center of the room Sarra the demon hung upside down by one leg, its arms bound behind its back, its suit scuffed-looking. Beneath it, crawling around an intricately scribed circle, a woman with short, curly red hair drew binding symbols with a gold stick. She looked up as I fanned away the smoke that was billowing up from the crack in the tile. "You're a Summoner. Hullo. I'm Noelle. Did you know that you have mismatched eyes?" I walked around the demon. It glared at me. "Yes, I know. Why do you have Sarra strung up by one leg?" She drew another symbol. It flared bright green as soon as the stick lifted from the circle. "It was getting a bit stroppy with me. The Hanged Man always teaches them a few manners. It's retaliating with the smoke. Are those spirits I saw yours, then?" "Yes, they are. There are four others as well. I hate to be a bother, but I'm in a bit of a hurry, what with Christian being held by this one's master and all, so if you could possibly just give me the abbreviated version of what's going on here, I'll be on my way to rescue him." She leaned back on her heels and sucked the tip of her gold stick. "Asmodeus, eh?" The demon snarled. A chunk of ceiling fell behind me. We both ignored it. It just never does to give a demon the satisfaction of knowing it's startled you. "It's a nasty bag of tricks, but I heard through the demonic grapevine that it was weakened and searching for a suitable sacrifice to regain its power," she added. "Well, it can't have Christian; he's mine. Back to the demon, if you don't mind…" She looked up at Sarra, still sucking the stick. "It's a pretty specimen, isn't it? I like the hair gel. Nice touch. The mustache is a bit much, though, don't you think? Makes it look so smarmy." "Um…" "I'm destroying it, so I suppose it really doesn't matter." I blinked and avoided two wine bottles as they flew out of a rack when the demon hissed at the Guardian.

I gain nothing but pleasure from writing fiction; short stories are foreplay, novellas are heavy petting – but novels are the full monte. Frankly, if I didn't enjoy writing novels I wouldn't do it – the world hardly needs any more and I can think of numerous more useful things someone with my skills could be engaged in. As it is, the immersion in parallel but believable worlds satisfies all my demands for vicarious experience, voyeurism and philosophic calithenics. I even enjoy the mechanics of writing, the dull timpani of the typewriter keys, the making of notes – many notes – and most seducttive of all: the buying of stationery. That the transmogrification of my beautiful thoughts into a grossly imperfect prose is always the end result doesn't faze me: all novels are only a version- there is no Platonic ideal. But I'd go further still: fiction is my way of thinking about and relating to the world; if I don't write I'm not engaged in any praxis, and lose all purchase.

Violet had carefully chosen some long-hanging, loose-fitting basketball shorts to wear over her swimsuit, in hopes of keeping her injuries at least partially hidden. But it didn’t take long before one . . . and then two . . . and then at least twenty of her friends had noticed her bandages peeking out from beneath the swishing fabric, and she was forced to recount her morning accident. Jay loved hearing her tell the story, and every time he heard her talking about it, he would come over so that he could interject, and of course embellish, his role in the events. In his version, he was her champion, practically carrying her from the woods and performing near-miraculous medical feats to save her legs from complete amputation. Violet, and annoyingly every other girl within earshot, couldn’t help but giggle while he jokingly sang his own praises. Violet happened to walk up just in time to hear Jay recounting his version once more to a group of eager admirers. “Hero? I wouldn’t say hero . . .” he quipped. Violet rolled her eyes, turning to Grady Spencer, a friend of theirs from school. “Can you believe him?” Grady gave her a concerned look. “Seriously, are you okay, Violet? It sounds like it was pretty bad.” Violet was embarrassed that Jay’s exaggerations were actually dredging up real sympathy from others. “It’s fine,” she assured him, and when Grady didn’t look convinced, she added, “Really, I just tripped.” She reached out and shoved Jay. “Will you knock it off, hero? You’re making an ass out of yourself.

So much misinformation has been published and broadcast over the years about Jimi’s short but spectacular life by people with an interest only in self-aggrandizement, that a few years ago I finally decided to break my silence of twenty years and record my version of events. This is not just a story about Jimi, but it's about me, and others who I knew in those early days and who are no longer with us, like Keith Moon, Brian Jones and Chas Chandler, and it's about what it was like to live in those extraordinary times.

Quantum physics tells us that no matter how thorough our observation of the present, the (unobserved) past, like the future, is indefinite and exists only as a spectrum of possibilities. The universe, according to quantum physics, has no single past, or history. The fact that the past takes no definite form means that observations you make on a system in the present affect its past. That is underlined rather dramatically by a type of experiment thought up by physicist John Wheeler, called a delayed-choice experiment. Schematically, a delayed-choice experiment is like the double-slit experiment we just described, in which you have the option of observing the path that the particle takes, except in the delayed-choice experiment you postpone your decision about whether or not to observe the path until just before the particle hits the detection screen. Delayed-choice experiments result in data identical to those we get when we choose to observe (or not observe) the which-path information by watching the slits themselves. But in this case the path each particle takes—that is, its past—is determined long after it passed through the slits and presumably had to “decide” whether to travel through just one slit, which does not produce interference, or both slits, which does. Wheeler even considered a cosmic version of the experiment, in which the particles involved are photons emitted by powerful quasars billions of light-years away. Such light could be split into two paths and refocused toward earth by the gravitational lensing of an intervening galaxy. Though the experiment is beyond the reach of current technology, if we could collect enough photons from this light, they ought to form an interference pattern. Yet if we place a device to measure which-path information shortly before detection, that pattern should disappear. The choice whether to take one or both paths in this case would have been made billions of years ago, before the earth or perhaps even our sun was formed, and yet with our observation in the laboratory we will be affecting that choice. In

them. In earlier years, I liked my father in some ways. He was social, chatty, witty; people enjoyed being with him and he paid special attention to me. He indulged me. He sometimes gave me rarities I longed for, or some version of them, like a garter snake, instead of a poisonous one. In later years, he seemed to be as aware of me as the stray cat that wandered in one day and never left. Mother had two moods. She was either temperamental, meaning short-tempered and unhappy, or she was melancholy, meaning listless and unhappy.

In the book Daring Greatly, shame researcher Brené Brown introduces the idea of "minding the gap." She's talking about the values gap: the space between who we are now and who we want to be. Minding the gap is part of walking toward the horizon we talked about in the previous chapter. There will always be times when we are imperfect, when we fall short of the best possible versions of ourselves. Minding the gap is being aware of where we are now and striving to move in the direction we want to go. That's part of living with integrity.

Forcing new loans upon the bankrupt on condition that they shrink their income is nothing short of cruel and unusual punishment. Greece was never bailed out. With their ‘rescue’ loan and their troika of bailiffs enthusiastically slashing incomes, the EU and IMF effectively condemned Greece to a modern version of the Dickensian debtors’ prison and then threw away the key. Debtors’ prisons were ultimately abandoned because, despite their cruelty, they neither deterred the accumulation of new bad debts nor helped creditors get their money back. For capitalism to advance in the nineteenth century, the absurd notion that all debts are sacred had to be ditched and replaced with the notion of limited liability. After all, if all debts are guaranteed, why should lenders lend responsibly? And why should some debts carry a higher interest rate than other debts, reflecting the higher risk of going bad? Bankruptcy and debt write-downs became for capitalism what hell had always been for Christian dogma – unpleasant yet essential – but curiously bankruptcy-denial was revived in the twenty-first century to deal with the Greek state’s insolvency. Why? Did the EU and the IMF not realize what they were doing? They knew exactly what they were doing. Despite their meticulous propaganda, in which they insisted that they were trying to save Greece, to grant the Greek people a second chance, to help reform Greece’s chronically crooked state and so on, the world’s most powerful institutions and governments were under no illusions. […] Banks restructure the debt of stressed corporations every day, not out of philanthropy but out of enlightened self-interest. But the problem was that, now that we had accepted the EU–IMF bailout, we were no longer dealing with banks but with politicians who had lied to their parliaments to convince them to relieve the banks of Greece’s debt and take it on themselves. A debt restructuring would require them to go back to their parliaments and confess their earlier sin, something they would never do voluntarily, fearful of the repercussions. The only alternative was to continue the pretence by giving the Greek government another wad of money with which to pretend to meet its debt repayments to the EU and the IMF: a second bailout.

Get used to the idea of significant portion of the population walking around with high-speed Internet connections on their person, with sophisticated video cameras built in. They will be shooting all kinds of events all the time. Crime. Crashes. Speeches. Sports. And the footage won't be the short, sanitized and safe versions we usually see on television, courtesy of the old media gatekeepers. The user-generated pictures and video will be raw and real. It will be disturbing, yet illuminating. And it will be shared over the 'Net almost as it happens, and available for everyone to see.

what is a psychopath? The short version.” “A person who is superficially charming and well-spoken; demonstrates inflated self-esteem, arrogance, and a sense of superiority; is consistently deceitful and prone to pathological lying; is cunning and manipulative, maneuvering others for his or her own personal gain; has no remorse and feels no guilt; is callous, inconsiderate, and unconcerned by the pain and suffering of others; shows shallow affect, demonstrating a limited range and depth of emotional responses and feelings; exhibits minimal fear responses and a disinclination to change behavior in response to pain or negative social stimuli; and gets bored easily, needing constant stimulation.

Matt’s housekeeper let him in with a grimace. “I’m harmless today,” Tate assured the woman as she led the way to where Matt Holden was standing just outside the study door. “Right. You and two odd species of cobra,” Matt murmured sarcastically, glaring at his son from a tanned face. “What do you want, a bruise to match the other one?” Tate held up both hands. “Don’t start,” he said. Matt moved out of the way with reluctance and closed the study door behind them. “Your mother’s gone shopping,” he said. “Good. I don’t want to talk to her just yet.” Matt’s eyebrows levered up. “Oh?” Tate dropped into the wing chair across from the senator’s bulky armchair. “I need some advice.” Matt felt his forehead. “I didn’t think a single malt whiskey was enough to make me hallucinate,” he said to himself. Tate glowered at him. “You’re not one of my favorite people, but you know Cecily a little better than I seem to lately.” “Cecily loves you,” Matt said shortly, dropping into his chair. “That’s not the problem,” Tate said. He leaned forward, his hands clasped loosely between his splayed knees. “Although I seem to have done everything in my power to make her stop.” The older man didn’t speak for a minute or two. “Love doesn’t die that easily,” he said. “Your mother and I are a case in point. We hadn’t seen each other for thirty-six years, but the instant we met again, the years fell away. We were young again, in love again.” “I can’t wait thirty-six years,” Tate stated. He stared at his hands, then he drew in a long breath. “Cecily’s pregnant.” The other man was quiet for so long that Tate lifted his eyes, only to be met with barely contained rage in the older man’s face. “Is it yours?” Matt asked curtly. Tate glowered at him. “What kind of woman do you think Cecily is? Of course it’s mine!” Matt chuckled. He leaned back in the easy chair and indulged the need to look at his son, to find all the differences and all the similarities in that younger version of his face. It pleased him to find so many familiar things. “We look alike,” Tate said, reading the intent scrutiny he was getting. “Funny that I never noticed that before.” Matt smiled. “We didn’t get along very well.” “Both too stubborn and inflexible,” Tate pointed out. “And arrogant.” Tate chuckled dryly. “Maybe.

I was honest with her." "You gave her your version-or mine?" She flushed with angry color. How short that truce was! He expected her to play the role of the happy bride when he couldn't keep his insults to himself? "I gave her facts,not assumptions. And this isn't going to work if you're going to continue to deliberately provoke me at every turn!" He raked an exasperated hand through his long hair. "I'm sorry,that was unintentional. I will make every effort to guard my tongue in mixed company." She narrowed her eyes on him, guessing, "But not when we're alone?" "The pretense is for others, not ourselves. Neither of us is delusional." "Of course not,far be it for me to think there's any reality in this. But if you think I can portray genuine smiles and bubbly happiness while around others when I'm so furious that I'm plotting your demise,well, think again!

The pressure is on. They've teased me all week, because I've avoided anything that requires ordering. I've made excuses (I'm allergic to beef," "Nothing tastes better than bread," Ravioli is overrated"), but I can't avoid it forever.Monsieur Boutin is working the counter again. I grab a tray and take a deep breath. "Bonjour, uh...soup? Sopa? S'il vous plait?" "Hello" and "please." I've learned the polite words first, in hopes that the French will forgive me for butchering the remainder of their beautiful language. I point to the vat of orangey-red soup. Butternut squash, I think. The smell is extraordinary, like sage and autumn. It's early September, and the weather is still warm. When does fall come to Paris? "Ah! soupe.I mean,oui. Oui!" My cheeks burn. "And,um, the uh-chicken-salad-green-bean thingy?" Monsieur Boutin laughs. It's a jolly, bowl-full-of-jelly, Santa Claus laugh. "Chicken and haricots verts, oui. You know,you may speek Ingleesh to me. I understand eet vairy well." My blush deepends. Of course he'd speak English in an American school. And I've been living on stupid pears and baquettes for five days. He hands me a bowl of soup and a small plate of chicken salad, and my stomach rumbles at the sight of hot food. "Merci," I say. "De rien.You're welcome. And I 'ope you don't skeep meals to avoid me anymore!" He places his hand on his chest, as if brokenhearted. I smile and shake my head no. I can do this. I can do this. I can- "NOW THAT WASN'T SO TERRIBLE, WAS IT, ANNA?" St. Clair hollers from the other side of the cafeteria. I spin around and give him the finger down low, hoping Monsieur Boutin can't see. St. Clair responds by grinning and giving me the British version, the V-sign with his first two fingers. Monsieur Boutin tuts behind me with good nature. I pay for my meal and take the seat next to St. Clair. "Thanks. I forgot how to flip off the English. I'll use the correct hand gesture next time." "My pleasure. Always happy to educate." He's wearing the same clothing as yesterday, jeans and a ratty T-shirt with Napolean's silhouette on it.When I asked him about it,he said Napolean was his hero. "Not because he was a decent bloke, mind you.He was an arse. But he was a short arse,like meself." I wonder if he slept at Ellie's. That's probably why he hasn't changed his clothes. He rides the metro to her college every night, and they hang out there. Rashmi and Mer have been worked up, like maybe Ellie thinks she's too good for them now. "You know,Anna," Rashmi says, "most Parisians understand English. You don't have to be so shy." Yeah.Thanks for pointing that out now.

(T)he true enemy of humanity was not Evil, an abstract idea personified by some sort of crimson-faced creature dancing in flames, but Chance, that smoky million-handed monster forever fitting its tiny fingers into the fissures of your life, working tear it apart, loosening the fatal screw, turning that first cell cancerous, sending lightning to strike the tree that you chose for shelter from the storm. The version of Satan that embodied every ill of human life had been patched onto the Judeo-Christian tradition because the early God that Moses knew was too tough and terrible for worshippers to want to deal with. The fear that Moses had of Yahweh was as much of His caprice as of His power --He was just as likely to force the Hebrews to wander in the wilderness as He was to rescue them from the Egyptians. In short, He was not the embodiment of good, but of chance: neither good nor evil, but inscrutable and unavoidable.

The Two Towers especially, and the first part of The Return of the King, have a structure reminiscent on a large scale of ‘The Council of Elrond’ on a small one. The word that describes the structure is ‘interlace’. Tolkien certainly knew the word, for it has become a commonplace of Beowulf-criticism, but he may not have liked it much: it is associated also with the structure of French prose romance, in which he took little interest. However, Tolkien certainly also knew that the Icelandic word for a short story is a Þáttr, literally a thread. One could say that several Þættir, or threads, twisted round each other, make up a saga; and Gandalf comes close to saying something like that when he says to Théoden, ‘There are children in your land who, out of the twisted threads of story, could pick the answer to your question’ (my emphasis). Tolkien may have felt that there had been all along a native version of the French technique of entrelacement, even if we no longer know the native word for it. But word, or no word, he was going to do it.

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Kevin Arthur liked cutting hair. I reckoned his desire was a good one, considering he was a barber. However, Kevin always wanted to cut more inches off my hair than requested. We argued every time I came into his shop. I told him my hair needed weight, otherwise it stood straight up and out, and my head—which was larger than average already, likely to accommodate my massive brain—resembled a cantaloupe on a toothpick, with cantaloupes being the least esteemed of all fruit. He maintained I needed a short cut, with the sides clipped close, and the top longer and thinned. He said the thickness of my hair was responsible for its propensity to misbehave. He said the cut would bring all the girls to my yard. This was doubtful. First of all, I didn’t want girls in my yard. I didn’t want anyone in my yard. My yard was fine just as it was: self-maintained. Secondly, I’d never been popular with the women folk. Women, or at least the women I knew, didn’t much enjoy my lack of willingness to deal with bullshit. For that matter, most men I knew didn’t enjoy this about me either. Bullshit was the adult version of Santa Claus. For reasons I’ll never comprehend,the general population seemed to enjoy wallowing, spouting, and believing in bullshit. But back to my barber

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

home in Pahrump, Nevada, where he played the penny slot machines and lived off his social security check. He later claimed he had no regrets. “I made the best decision for me at the time. Both of them were real whirlwinds, and I knew my stomach and it wasn’t ready for such a ride.” •  •  • Jobs and Wozniak took the stage together for a presentation to the Homebrew Computer Club shortly after they signed Apple into existence. Wozniak held up one of their newly produced circuit boards and described the microprocessor, the eight kilobytes of memory, and the version of BASIC he had written. He also emphasized what he called the main thing: “a human-typable keyboard instead of a stupid, cryptic front panel with a bunch of lights and switches.” Then it was Jobs’s turn. He pointed out that the Apple, unlike the Altair, had all the essential components built in. Then he challenged them with a question: How much would people be willing to pay for such a wonderful machine? He was trying to get them to see the amazing value of the Apple. It was a rhetorical flourish he would use at product presentations over the ensuing decades. The audience was not very impressed. The Apple had a cut-rate microprocessor, not the Intel 8080. But one important person stayed behind to hear more. His name was Paul Terrell, and in 1975

A half-empty bottle of vodka sat on the bedside table, and his sketchbook was open on the king-size bed. Several sketches, only three of which looked finished, were scattered across the bedspread. Clearly he hadn’t been sleeping either. Swallowing, I picked up the nearest one. A dark-skinned, pale-haired child with an angel’s wings—too old to be a cherub, more like a small boy—stood in the middle of a dark forest, looking around in terror. His hand was outstretched, reaching for a shadow disappearing off the edge of the page, the unknown figure walking away from him, leaving him behind. I drew a shuddering breath and picked up the next one. In this one, that same angel—now a willowy adolescent, his thin, maturing body draped in the ubiquitous short toga with strapped sandals wound around his ankles—stood with his shoulders hunched in the midst of a crowd of jeering figures. He held an ornate harp cradled protectively against his body, trying to shield it from further harm. Its strings were sprung and its frame cracked and bent. In the last one, an even more mature version of the angel—now a young man—knelt on one knee in another clearing in the woods. He was bruised and bleeding, his toga torn and stained. He held the bloody, tattered remnants of one of his wings, trying futilely to piece it back together.

What I find difficult, when I read, is to encounter other people’s achievements passed off as one’s own. I find it difficult to discover literary tradition so warmly embraced and coddled, as if artists existed merely to have flagrant intercourse with the past, guaranteed to draw a crowd but also certain to cover that crowd in an old, heavy breading. I find it difficult when a narrative veers toward soap opera, when characters are explained by their childhoods, when setting is used as spackle to hold together chicken-wire characters who couldn’t even stand up to an artificial wind, when depictions of landscape are intermissions while the author catches his breath and gets another scene ready. I find writing difficult that too readily subscribes to the artistic ideas of other writers, that willingly accepts language as a tool that must be seen and not heard, that believes in happy endings, easy revelations, and bittersweet moments of self-understanding. I find writing difficult that could have been written by anyone. That’s difficult to me, horribly so. Mr. Difficult? It’s not Gaddis. Mr. Difficult is the writer willing to sell short the aims of literature, to serve as its fuming, unwanted ambassador, to apologize for its excesses or near misses, its blind alleys, to insult the reading public with film-ready versions of reality and experience and inner sensations, scenes flying jauntily by under the banner of realism, which lately grants it full critical immunity.

so often I get optimistic and explain the best method of learning to write to students. I don’t believe any of them has ever tried it, but I will explain it to you now. After all, you may be the exception. When I read about this method, it was attributed to Benjamin Franklin, who invented and discovered so much. Certainly I did not invent it. But I did it, and it worked. That is more than can be said for most creative writing classes. Find a very short story by a writer you admire. Read it over and over until you understand everything in it. Then read it over a lot more. Here’s the key part. You must do this. Put it away where you cannot get at it. You will have to find a way to do it that works for you. Mail the story to a friend and ask him to keep it for you, or whatever. I left the story I had studied in my desk on Friday. Having no weekend access to the building in which I worked, I could not get to it until Monday morning. When you cannot see it again, write it yourself. You know who the characters are. You know what happens. You write it. Make it as good as you can. Compare your story to the original, when you have access to the original again. Is your version longer? Shorter? Why? Read both versions out loud. There will be places where you had trouble. Now you can see how the author handled those problems. If you want to learn to write fiction, and are among those rare people willing to work at it, you might want to use the little story you have just finished as one of your models. It’s about the right length.     P

I am glad when we enter the conference room that Chihiro made sure I wasn’t late to the meeting. Not only does my appearance cut short several whispered confabs in the corners of the room (confirming her suspicion that people would have used my lateness as a chance to talk about me), but I also get to take my favorite seat: at the far end of the table next to my favorite monkey. I’ve never quite understood how the monkeys got here. The fresco on the ceiling of this room –originally the formal dining room- is modeled on the one in the formal dining room at La Civetta. It depicts a lemon-covered pergola in a garden. An assortment of birds –doves, sparrows, and long-tailed peacocks – roost on the wooden struts. In the original fresco, fat cupids also frolic amidst the greenery, their chubby feet dangling precariously from their perches. In one corner a plaster foot even protrudes from the frescoed surface. In this New York version of the fresco, there are monkeys instead of cupids: monkeys peering out between leafy branches and monkeys dangling by their tails from the wooden slats of the pergola. If you look carefully (and I have had ample opportunity through long and tedious budget reviews to examine every inch of the palatial room), you can even find a few monkeys that have climbed down from the pergola and found their way into the formal dining room to perform rude and unspeakable acts... My favorite monkey, though, is the little one who peers out from behind the leafy fronds of an aspidistra, making an obscene gesture I have seen only on the streets of Italy. I always sit right next to him. He gives me some relief for the sentiments I am unable to express in the course of department meetings.

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt