Wall Hanging Quotes

Criticism of others is thus an oblique form of self-commendation. We think we make the picture hang straight on our wall by telling our neighbors that all his pictures are crooked.

I’ve met God across his long walnut desk with his diplomas hanging on the wall behind him, and God asks me, “Why?” Why did I cause so much pain? Didn’t I realize that each of us is a sacred, unique snowflake of special unique specialness? Can’t I see how we’re all manifestations of love? I look at God behind his desk, taking notes on a pad, but God’s got this all wrong. We are not special. We are not crap or trash, either. We just are. We just are, and what happens just happens. And God says, “No, that’s not right.” Yeah. Well. Whatever. You can’t teach God anything.

You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.

Q: You'er presented with a smooth-faced, eight-foot-high wooden wall. Your objective? Get over it. To, like, save comrades or something. How to accomplish this? A: Take a running start, brace one foot against the wall, throw one hand to the top, try to hang on long enough for a comrade to either grab your hand at the top or for another comrade to push your butt up from below. It takes team work! BKA (bird kid answer): Or you could just, like, fly over it.

Absence is a house so vast that inside you will pass through its walls and hang pictures on the air.

He strode to the wall and tore aside one of the velvet hangings. “You want to tell me what this is?” he demanded. “It’s a door, Jace,” said Clary.

Art is what we call...the thing an artist does. It's not the medium or the oil or the price or whether it hangs on a wall or you eat it. What matters, what makes it art, is that the person who made it overcame the resistance, ignored the voice of doubt and made something worth making. Something risky. Something human. Art is not in the ...eye of the beholder. It's in the soul of the artist.

Your Majesty, please get down. My friend Aris is really a very good man, and if you fall off that wall he's going to hang for it, and so will his squad, most of whom are also nice men, and though I can't say I really care if your attendants hang, there are probably many people that do care, and would you please, please get down?" The king looked at him, eyes narrowed. "I don't think I've ever heard you say that many words in a row. You sounded almost articulate.

how come you're so ugly?" "my life has hardly been pretty — the hospitals, the jails, the jobs, the women, the drinking. some of my critics claim that i have deliberately inflicted myself with pain. i wish that some of my critics had been along with me for the journey. it’s true that i haven't always chosen easy situations but that's a hell of a long ways from saying that i leaped into the oven and locked the door. hangover, the electric needle, bad booze, bad women, madness in small rooms, starvation in the land of plenty, god knows how i got so ugly, i guess it just comes from being slugged and slugged again and again, and not going down, still trying to think, to feel, still trying to put the butterfly back together again…it’s written a map on my face that nobody would ever want to hang on their wall. sometimes i’ll see myself somewhere…suddenly…say in a large mirror in a supermarket…eyes like little mean bugs…face scarred, twisted, yes, i look insane, demented, what a mess…spilled vomit of skin…yet, when i see the “handsome” men i think, my god my god, i’m glad i’m not them

But in a country where you hang your dead up on walls and pride whether or not a man bears a javelin more than his character, how am I to persuade you out of a war? It would be suicide for Kildenree to war on Bayern and butchery for Bayern to attack Kildenree. If you don't believe me, then send me back. Or if you don't trust me to leave, I'll return to my little room on the west wall and tend your geese, and you can be sure that on my watch no thieves will touch my flock.

Look! A riddle! Time for fun! Should we use a rope or gun? Knives are sharp and gleam so pretty Poison’s slow, which is a pity Fire is festive, drowning’s slow Hanging’s a ropy way to go A broken head, a nasty fall A car colliding with a wall Bombs make a very jolly noise Such ways to punish naughty boys! What shall we use? We can’t decide. Just like you cannot run or hide. Ha ha. Truly, Devious

If you have a rifle, hanging on the wall in the first act, it should fire in the last act”.

Tohrment spoke. "Bella's brother called. He's tabled the sehelusion request and asked that she stay here for a couple of days." Z jacked his head up. "Why?" "He didn't give a reason-" Tohr's eye's narrowed on Z's face. "Oh... my God." "What the fuck are you looking at?" Phury pointed to the antique mirror hanging on the wall next to the double doors. "See for yourself." Zsadist marched across the room, ready to give them all hell. Bella was what mattered- His mouth went lax at his reflection. With a shaky hand he reached out to the eyes in the old-fashioned leaded glass. His irises were no longer black. They were yellow. Just like his twin's. "Phury?" he said softly. "Phury... what happened to me?" As the male came up behind him, his brother's face appeared right beside Z's. And then Wrath's dark reflection showed up in the mirror, all long hair and sunglasses. Then Rhage's star-fallen beauty. And Vishous's Sox cap. And Tohrment's brush cut. And Butch's busted nose. One by one they reached out and touched him, their big hands gently on his shoulders. "Welcome back, my brother," Phury whispered. Zsadist stared at the males who were behind him. And the oddest thought that if he were to let himself go limp and fall backward... they would catch him.

There are two types of people on planet Earth, Batman and Iron Man. Batman has a secret identity, right? So Bruce Wayne has to walk around every second of every day knowing that if somebody finds out his secret, his family is dead, his friends are dead, everyone he loves gets tortured to death by costumed supervillains. And he has to live with the weight of that secret every day. But not Tony Stark, he's open about who he is. He tells the world he's Iron Man, he doesn't give a shit. He doesn't have that shadow hanging over him, he doesn't have to spend energy building up those walls of lies around himself. You're one or the other - either you're one of those people who has to hide your real self because it would ruin you if it came out, because of your secret fetishes or addictions or crimes, or you're not one of those people. And the two groups aren't even living in the same universe.

War does that, nothing for it. Reality lays siege. Your framed portrait of life is smashed, and a new one thrust upon you. It's ugly, and you don't even want to look at it let alone hang it on the wall, but you have no choice, once you know. Once you really know.

Strider's bedroom "The only thing hanging on the wall that wasn't a weapon was the portrait just over the bed. No. Not true, he thought then. The portrait was a weapon, too. Of seduction. In it Strider was utterly naked and whisking through the cloads like an avenging angel. He was holding a teddy bear in one hand and a stream of pink ribbons in the other. Anya had given him the nearly life-size monstrasity as a joke. But the joke was on her. He loved the thing.

Houses are really bodies. We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and bloodstream. I am no beauty, no mirror is necessary to assure me of this absolute fact. Nevertheless I have a death grip on this haggard frame as if it were the limpid body of Venus herself.

There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir'd eyelids upon tir'd eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro' the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep.

I myself shall continue living in my glass house where you can always see who comes to call, where everything hanging from the the ceiling and on the walls stays where it is as if by magic, where I sleep nights in a glass bed, under glass sheets, where who I am will sooner or later appear etched by a diamond.

I like libraries, if for no other reason than they give homeless people a place to hang out. There's something nice about the way you're never too old to go into one, but it still makes you feel the way it did when you were small.

Arjuro made a scoffing sound. ‘You think Lumatere will invade because of you? Are you that important?’ Froi looked away. ‘Isaboe would invade if you kidnapped a servant, let alone a friend.’ ‘Isaboe? We’re on first-name terms with the Queen of Lumatere, are we?’ Gargarin asked. Froi found himself bristling. ‘What? Do you think I’m some cutthroat for hire who they found hanging around the palace walls with the words “I want to kill a Charynite King” tattooed on my arse?

But I will stretch my toes so that they touch the rail at the end of the bed; I will assure myself, touching the rail, of something hard. Now I cannot sink; cannot altogether fall through the thin sheet now. Now I spread my body on this frail mattress and hang suspended. I am above the earth now. I am no longer upright, to be knocked against and damaged. All is soft, and bending. Walls and cupboards whiten and bend their yellow squares on top of which a pale glass gleams. Out of me now my mind can pour.

Rincewind gave his fingers a long shocked stare, as one might regard a gun that has been hanging on the wall for decades and has suddenly gone off and perforated the cat.

I don't believe in God. Can you understand that? Look around you man. Cant you see? The clamor and din of those in torment has to be the sound most pleasing to his ear. And I loathe these discussions. The argument of the village atheist whose single passion is to revile endlessly that which he denies the existence of in the first place. Your fellowship is a fellowship of pain and nothing more. And if that pain were actually collective instead of simply reiterative then the sheer weight of it would drag the world from the walls of the universe and send it crashing and burning through whatever night it might yet be capable of engendering until it was not even ash. And justice? Brotherhood? Eternal life? Good god, man. Show me a religion that prepares one for death. For nothingness. There's a church I might enter. Yours prepares one only for more life. For dreams and illusions and lies. If you could banish the fear of death from men's hearts they wouldnt live a day. Who would want this nightmare if not for fear of the next? The shadow of the axe hangs over every joy. Every road ends in death. Or worse. Every friendship. Every love. Torment, betrayal, loss, suffering, pain, age, indignity, and hideous lingering illness. All with a single conclusion. For you and for every one and everything that you have chosen to care for. There's the true brotherhood. The true fellowship. And everyone is a member for life. You tell me that my brother is my salvation? My salvation? Well then damn him. Damn him in every shape and form and guise. Do I see myself in him? Yes. I do. And what I see sickens me. Do you understand me? Can you understand me?

Mr. Buckley, let me explain it this way. And I'll do so very carefully and slowly so that even you will understand it. If I was the sheriff, I would not have arrested him. If I was on the grand jury, I would not have indicted him. If I was the judge, I would not try him. If I was the D.A., I would not prosecute him. If I was on the trial jury, I would vote to give him a key to the city, a plaque to hang on his wall, and I would send him home to his family. And, Mr. Buckley, if my daughter is ever raped, I hope I have the guts to do what he did.

This is where the story starts, in this threadbare room. The walls are exploding. The windows have turned into telescopes. Moon and stars are magnified in this room. The sun hangs over the mantelpiece. I stretch out my hand and reach the corners of the world. The world is bundled up in this room. Beyond the door, where the river is, where the roads are, we shall be. We can take the world with us when we go and sling the sun under your arm. Hurry now, it's getting late. I don't know if this is a happy ending but here we are let loose in open fields.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

Her face is a work of art. I wish there was a picture of it hanging on a wall in a museum somewhere so I could stand in front of it and stare at it for as long as I wanted.

Woman, where are they? Has no one judged you guilty?" She answers "No one, sir." Then Jesus says, "I also don't judge you guilty. You may go now, but don't sin anymore." If you have ever wondered how God reacts when you fail, frame these words and hang them on the wall.Read them. Ponder them.Drink from them. Stand below them and let them wash over your soul. Or better still, take him with you to to your canyon of shame. Invite Christ to journey with you back to the Fremont Bridge of your world. Let Him stand beside you as you retell the events of the darkest nights of your soul. And then listen. Listen carefully. He's speaking. "I don't judge you guilty." And watch. Watch carefully. He's writing. He's leaving a message. Not in the sand, but on a cross. Not with his hand, but with his blood. His message has two words: not guilty.

His world closes in. The sky is endless no longer but pieced into squares of brick and bright cloths hanging down to dry. Underfoot, no longer stone but rubble, earth, the peelings and rotted scraps of the inedible. He smells the smoke of cooking fires, he hears men arguing and babies screaming like seagulls, he sees young women looking shyly down from high windows, exchanging glances. Now, he is no longer the watcher. Watched. Shouts echo in the dark between twisted walls and back alleys. A twisted smile in a doorway. A stranger’s voice. A stranger’s language.

Its hard to stay up. Its been a long long day And you've got the sandman at your door. But hang on, leave the TV on and lets do it anyway. Its ok. You can always sleep through work tomorrow. Ok? Hey, Hey, Tomorrow's just your future yesterday. Tell the clock on the wall, "Forget the wake up call." Cause the night's not nearly through. Wipe the sleep from your eyes. Give yourself a surprise. Let your worries wait another day. And if you stay too late at the bar, At least you made it out this far. So make up your mind and say, "Let's do it anyway!" Its Ok You can always sleep through work tomorrow, ok? Hey, Hey, Tomorrow's just your future yesterday. Life's too short to worry about the things that you can live without And I regret to say, the morning light is hours away. The world can be such a fright, But it belongs to us tonight. What's the point of going to bed? You look so lovely when your eyes are red. Tomorrow's just your future yesterday.

Whatcha doin', Freak Girl?" --------------------------- "What does it look like, brainiac?" I shot back, even surprising myself with the force of my jab. "I'll give you three guesses. No, wait. Don't strain yourself. Wouldn't want to hurt your head." I waved a flyer in his face, channeling my inner mean girl. "See these? I'm hanging them...on a...wall!" I spoke the last part slowly, as if addressing a dim-witted child. Which wasn't far off the mark, now that I thought about it. "With tape," I added, waving at the dispenser. "You know-sticky, sticky!

There were some books that reached through the noise of life to grab you by the collar and speak only of the truest things. A Confession was a book like that. In it, Tolstoy related a Russian fable about a man who, being chased by a monster, jumps into a well. As the man is falling down the well, however, he sees there's a dragon at the bottom, waiting to eat him. Right then, the man notices a branch sticking out of the wall, and he grabs on to it, and hangs. This keeps the man from falling into the dragon's jaws, or being eaten by the monster above, but it turns out there's another little problem. Two mice, one black and one white, are scurrying around and around the branch, nibbling it. It's only a matter of time before they will chew through the branch, causing the man to fall. As the man contemplates his inescapable fate, he notices something else: from the end of the branch he's holding, a few drops of honey are dripping. The man sticks out his tongue to lick them. This, Tolstoy says, is our human predicament: we're the man clutching the branch. Death awaits us. There is no escape. And so we distract ourselves by licking whatever drops of honey come within our reach.

No," he said. "Relius was right and I was wrong. You are My Queen. Even though you cut my head from my shoulders, with my last breath as a noose tightens, to the last beat of my heart if I hang from the walls of the palace, you are My Queen. That I have failed you does not change my love for you or my loyalty.

I prepare my portrait for my woman to hang on a wall when I die. she says: Is there a wall to hang it on? I say: We'll build a room for it. Where? In any house.

There were no fancy certificates hanging on the walls; for some reason it’s always the people with the most impressive diplomas who keep them in their desk drawers.

Black Jesus hangs from the cross in a painting on the hallway wall, and Malcolm X holds a shotgun in a photograph next to him.

I think the man who designed this should have committed suicide. A man who can conceive a thing as beautiful as this should never allowed it to be erected. He should not want to exist. But he will let it be built, so that women will hang out diapers on his terraces, so that men will spit on his stairways and draw dirty pictures on his walls. He's given it to them and he's made it part of them, part of everything. He shouldn't have offered it for men like you to look at. For men like you to talk about. He's defiled his own work by the first word you'll utter about it. He's made himself worse than you are. You'll be committing only a mean little indecency, but he's committed a sacrilege. A man who knows what he must have known to produce this should not have been able to remain alive.

Half-smile when you first wake up in the morning Hang a branch, any other sign, or even the word “smile” on the ceiling or wall so that you see it right away when you open your eyes. This sign will serve as your reminder. Use these seconds before you get out of bed to take hold of your breath. Inhale and exhale three breaths gently while maintaining the half smile. Follow your breaths.

I myself shall continue living in my glass house where you can always see who comes to call; where everything hanging from the ceiling and on the walls stays where it is as if by magic; where I sleep nights in a glass bed, under glass sheets, where who I am will sooner or later be etched by a diamond.

The sign outside this tent is accompanied by a small box full of smooth black stones. The text instructs you to take one with you as you enter. Inside, the tent is dark, the ceiling covered with open black umbrellas, the curving handles hanging down like icicles. In the center of the room there is a pool. A pond enclosed within a black stone wall that is surrounded by white gravel. The air carries the salty tinge of the ocean. You walk over to the edge to look inside. The gravel crunches beneath your feet. It is shallow, but it is glowing. A shimmering, shifting light cascades up through the surface of the water. A soft radiance, enough to illuminate the pool and the stones that sit at the bottom. Hundreds of stones, each identical to the one you hold in your hand. The light beneath filters through the spaces between the stones. Reflections ripple around the room, making it appear as though the entire tent is underwater. You sit on the wall, turning your black stone over and over in your fingers. The stillness of the tent becomes a quiet melancholy. Memories begin to creep forward from hidden corners of your mind. Passing disappointments. Lost chances and lost causes. Heartbreaks and pain and desolate, horrible loneliness. Sorrows you thought long forgotten mingle with still-fresh wounds. The stone feels heavier in your hand. When you drop it in the pool to join the rest of the stones, you feel lighter. As though you have released something more than a smooth polished piece of rock.

...What is the use of beauty? i have lived my life surrounded by painters, and still I do not know the answer. But i suspect, some days, that beauty helps protect the spirit of mankind, swaddle it and succor it, so that we might survive. Beauty is no end in itself, but if it makes or lives less miserable so that we might be more kind-well, then, lets have beauty, painted on our porcelain, hanging on our walls, ringing through our stories.

I remember one bobcat they had in here - now bobcats are an endangered species in this neck of the woods - they'd caught it somewhere and they must have put that cat through a dozen rounds of burn experiments before they finally determined that it was utterly useless to them. Like an empty beer can. And then you know what they did to it? Claudius was late for a lunch date so rather thanput the destroyed but still breathing animal to sleep, he picked it up by its hind legs and simply smashed its head against a wall repeatedly until it was dead. How can I forget it: I was the one told to clean up the mess. The head dented in. The eyes slowly closing. The once proud claws hanging down, stunned and lifeless, the utter senselessness of it all, and the hate, a hatred that was consummated in me which is as dangerous a hormone, or chemical, or portion of the brain, as any neutron bomb. Except that I didnt know how to explode. I was like a computer without a keyboard, a bird without wings. Roaring inside. I wanted to kill that man. To do unto others what they had done unto me. I was that bobcat, you better believe it.

If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.

It is moonlight. Alone in the silence I ascend my stairs once more, While waves remote in pale blue starlight Crash on a white sand shore. It is moonlight. The garden is silent. I stand in my room alone. Across my wall, from the far-off moon, A rain of fire is thrown. There are houses hanging above the stars, And stars hung under the sea, And a wind from the long blue vault of time Waves my curtains for me. I wait in the dark once more, swung between space and space: Before the mirror I lift my hands And face my remembered face.

I know every microscopic detail of his face. I know the shape of his brows for every emotion. He is the most beautiful man who ever lived, and at one time I couldn't have said with any certainty what color eyes he had. He was no more memorable that a picture hanging on the wall that I'd long gotten used to. How many times did my gaze pass right over him, not realizing he was looking back at me? Always watching. Listening. Waiting.

The great hall was shimmering in light, sun streaming from the open windows, and ablaze with colour, the walls decorated with embroidered hangings in rich shades of gold and crimson. New rushes had been strewn about, fragrant with lavender, sweet woodruff, and balm... the air was... perfumed with honeysuckle and violet, their seductive scents luring in from the gardens butterflies as blue as the summer sky.

When the woman you live with is an artist, every day is a surprise. Clare has turned the second bedroom into a wonder cabinet, full of small sculptures and drawings pinned up on every inch of wall space. There are coils of wire and rolls of paper tucked into shelves and drawers. The sculptures remind me of kites, or model airplanes. I say this to Clare one evening, standing in the doorway of her studio in my suit and tie, home from work, about to begin making dinner, and she throws one at me; it flies surprisingly well, and soon we are standing at opposite ends of the hall, tossing tiny sculptures at each other, testing their aerodynamics. The next day I come home to find that Clare has created a flock of paper and wire birds, which are hanging from the ceiling in the living room. A week later our bedroom windows are full of abstract blue translucent shapes that the sun throws across the room onto the walls, making a sky for the bird shapes Clare has painted there. It's beautiful. The next evening I'm standing in the doorway of Clare's studio, watching her finish drawing a thicket of black lines around a little red bird. Suddenly I see Clare, in her small room, closed in by all her stuff, and I realize that she's trying to say something, and I know what I have to do.

...soft light ate away at the darkness and revealed a rather large room outfitted with a small kitchen, an antique-looking couch, and a… a bed. Nervously, I turned away and folded my arms. The place reminded me more of a love-nest than anything else. Then again, the stockpile of rifles hanging on the wall kind of ruined the cozy feel.

Let my silence grow with noise as pregnant mothers grow with life. Let my silence permeate these walls as sunlight permeates a home. Let the silence rise from unwatered graves and craters left by bombs. Let the silence rise from empty bellies and surge from broken hearts. The silence of the hidden and forgotten. The silence of the abused and tortured. The silence of the persecuted and imprisoned. The silence of the hanged and massacred. Loud as all the sounds can be, let my silence be loud so the hungry may eat my words and the poor may wear my words. Loud as all the sounds can be, let my silence be loud so I may resurrect the dead and give voice to the oppressed. My silence speaks.

Have you been in Sissix’s room yet?’ ‘No.’ ‘Okay, well, on her wall, there’s this big fancy frame with a mess of Aandrisk feathers hanging from it. Every Aandrisk’s got one, as far as I know. See, if you’re an Aandrisk and somebody really touches your life in some way, you give that person one of your feathers. And then you keep the feathers you get from others as a symbol of how many paths you’ve crossed. Having a lot of feathers on your wall shows that you’ve had an impact on a lot of people. That’s a pretty big life priority for most Aandrisks.

I'm Writing my stoy. But i'm also plotting my escape from this prison cell. This is my plan. I will do it with words. I will write them by day. I will write them by night. I will write them on the walls, the stalls, the halls. I will write them in big bold ink on posters i hang on the concrete blocks. I will write them on little pieces of paper I stuff on the mattress and the pillow. I will write them with fingers bent and cramped from use. I will write them in blood if i have to, but only my own. And i will keep writing them, again, and again, and again, until i fill this prison cell so full of words, that the bars bend and buckle and burst because they cannot contain them And then I will be free.

Her own awareness had risen like the dawn on her back.Like a leaden sunrise veiled in a swirl of storm clouds. It was no longer enough to have answers for Shiva's sake. Indeed, it had ceased to be about mere vengeance the moment Khalid's lips touched hers in the alley by the souk. She had wanted there to be a reason for this madness, needed there to be a reason, so that she could be with him. So that she could be by his side, make him smile as she laughed, weave tales by lamplight, and share secrets in the dark.So that she could fall asleep in his arms and awaken to a brilliant tomorrow. But it was too late. He was the Mehrdad of her nightmares. She had opened the door. She had seen the bodies hanging from the walls, without explanation. Without justification. And without one, Shahrzad knew what must be done. Khalid had to answer for such vile deeds. Such rampant death. Even if he was her air. Even if she loved him beyond words.

He hangs on now, pressing his hand lightly against the wall, below the window, waiting for the familiar arrow of pain. Only there is none. An oddly pleasant swell of memory, a wave of warmth flooding over him, sliding back, slowly. It is a first

Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.

If he closed his eyes he could dwell in the circuit of air that had once held her, he could hold his breath and be inside her again, within the close and burning borders of her- she stood here, washed her hair in this sink, wrote upon this wall, ate roasted chicken at this table. There was no place he could enter where she had not also been, her echoes hanging in the air like pages hung to dry. No place that did not suppurate in her absence, which was not ringed with the light of her old selves, like film burned with a cigarette.

Despite the fact that he no longer dressed like the big dork he did then, despite the fact that he’d swapped the nerd wear for some much cooler clothes, despite the fact that he’d let his hair go all shaggy and loose to the point where it curved down into his face in that cool guy, slightly windswept, effortless way, despite the fact that every time I looked into his brilliant blue eyes I was totally reminded of the Zac Efron poster that used to hang on my old bedroom wall, it still didn’t make it okay for him to laugh at me the way he did.

They were blurring. The lies and truths and memories. Sleep and the blackness in the iron coffin. The days bound to the stone altar in the center of the room, or hanging from a hook in the ceiling, or strung up between chains anchored into the stone wall. It was all beginning to blur, like ink in water.

Why there isn't any drama in my life So I'll crawl on the cottonfield with a fife Why to have a dream in vain my life begs Am a house gecko, I eat flies and lay eggs My death surely doesn't yield a headline and all I'll break law by pissing on a castle's wall For my death there wouldn't be a weeping meni From the name of Lady Canning there's ledikeni One foot on heaven and one foot on hell, hanging One cannon and two cannonballs dangling.

A story is a map of the world. A gloriously colored and wonderful map, the sort one often sees framed and hanging on the wall in a study full of plush chairs and stained-glass lamps: painstakingly lettered, researched down to the last pebble and participle, drawn with dash and flair, with cloud-goddesses in the corners and giant squid squirming up out of the sea...[T]here are more maps in the world than anyone can count. Every person draws a map that shows themselves at the center.

A sign hangs on the wall in a New Monastic Christian community house: “Everyone wants a revolution. No one wants to do the dishes.” I was, and remain, a Christian who longs for revolution, for things to be made new and whole in beautiful and big ways. But what I am slowly seeing is that you can’t get to the revolution without learning to do the dishes. The kind of spiritual life and disciplines needed to sustain the Christian life are quiet, repetitive, and ordinary. I often want to skip the boring, daily stuff to get to the thrill of an edgy faith. But it’s in the dailiness of the Christian faith—the making the bed, the doing the dishes, the praying for our enemies, the reading the Bible, the quiet, the small—that God’s transformation takes root and grows.

When they entered they found, hanging upon the wall, a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognised who it was.

Once when I visited Buddy I found Mrs. Willard braiding a rug out of strips of wool from Mr. Willard’s old suits. She’d spent weeks on that rug, and I had admired the tweedy browns and greens and blues patterning the braid, but after Mrs. Willard was through, instead of hanging the rug on the wall the way I would have done, she put it down in place of her kitchen mat, and in a few days it was soiled and dull and indistinguishable from any mat you could buy for under a dollar in the five and ten.                 And I knew that in spite of all the roses and kisses and restaurant dinners a man showered on a woman before he married her, what he secretly wanted when the wedding service ended was for her to flatten out underneath his feet like Mrs. Willard’s kitchen mat.

THE ONE THING YOU MUST DO There is one thing in this world you must never forget to do. If you forget everything else and not this, there's nothing to worry about, but if you remember everything else and forget this, then you will have done nothing in your life. It's as if a king has sent you to some country to do a task, and you perform a hundred other services, but not the one he sent you to do. So human being come to this world to do particular work. That work is the purpose, and each is specific to the person. If you don't do it, it's as though a priceless Indian sword were used to slice rotten meat. It's a golden bowl being used to cook turnips, when one filing from the bowl could buy a hundred suitable pots. It's like a knife of the finest tempering nailed into a wall to hang things on. You say, "But look, I'm using the dagger. It's not lying idle." Do you hear how ludicrous that sounds? For a penny an iron nail could be bought to serve for that. You say, "But I spend my energies on lofty enterprises. I study jurisprudence and philosophy and logic and astronomy and medicine and the rest." But consider why you do those things. They are all branches of yourself. Remember the deep root of your being, the presence of your lord. Give yourself to the one who already owns your breath and your moments. If you don't, you will be like the man who takes a precious dagger and hammers it into his kitchen wall for a peg to hold his dipper gourd. You'll be wasting valuable keenness and forgetting your dignity and purpose.

The room into which Ivan Ivanovich stepped was quite dark, because the shutters were closed and the sunbeam that penetrated through a hole in the shutter was broken into rainbow hues and painted upon the opposite wall a multicolored landscape of thatched roofs, trees, and clothes hanging in the yard, but all upside down. This made an uncanny twilight in the whole room.

The room was a library. Not a public library, but a private library; that is, a collection of books belonging to Justice Strauss. There were shelves and shelves of them, on every wall from the floor to the ceiling, and separate shelves of them in the middle of the room. The only place were there weren't books was in one corner, where there were some large, comfortable-looking chairs and a wooden table with lamps hanging over them, perfect for reading. Although it was not as big as their parents library, it was cozy, and the Baudelaire children were thrilled.

It was-this always seems to shock people all over again- a happy childhood. For the first few months I spent a lot of time at the bottom of the garden, crying till I threw up and yelling rude words at the neighborhood kids who tried to make friends. But children are pragmatic, they come alive and kicking out of a whole lot worse than orphanhood, and I could only hold out so long against the fact that nothing would bring my parents back and against the thousand vivid things around me, Emma-next-door hanging over the wall and my new bike glinting red in the sunshine and the half-wild kittens in the garden shed, all fidgeting insistently while they waited for me to wake up again and come out to play. I found out early that you can throw yourself away, missing what you've lost.

I need to leave something behind. Something that will stay. This room should be a historical landmark, the site of the beginning and end of Colby and Bev. Several minutes have passed, and I know that if I wait too long there will be a knock on the door and I'll have to go, but I need to leave a mark. It has to be significant enough to last, but subtle enough that the maid won't notice and wash it away. As I'm looking around I realize that I never noticed the print above the bed. It's another in the family series - a faded wedding portrait. Groom in tux. Bride with pearls. It comes off the wall easily.I set the print on the bedspread and wit eht dust on the wall with the sleeve of my hood. I take out a Sharpie from my bag. The wall has yellowed to create a perfect rectangle where the photograph must have been hanging, unremoved, for years. I fill the whiter space with this: I never got to tell you how beautiful you are. And then I return the frame to its place on the wall and go back out into the night.

What we consume now is not objects or events, but our experience of them. Just as we never need to leave our cars, so we never need to leave our own skulls. The experience is already out there, as ready-made as a pizza, as bluntly objective as a boulder, and all we need to do is receive it. It is as though there is an experience hanging in the air, waiting for a human subject to come alone and have it. Niagara Falls, Dublin Castle and the Great Wall of China do our experiencing for us. They come ready-interpreted, thus saving us a lot of inconvenient labour. What matters is not the place itself but the act of consuming it. We buy an experience like we pick up a T-shirt.

THE ONE THING YOU MUST DO There is one thing in this world you must never forget to do. If you forget everything else and not this, there's nothing to worry about, but if you remember everything else and forget this, then you will have done nothing in your life. It's as if a king has sent you to some country to do a task, and you perform a hundred other services, but not the one he sent you to do. So human being come to this world to do particular work. That work is the purpose, and each is specific to the person. If you don't do it, it's as though a priceless Indian sword were used to slice rotten meat. It's a golden bowl being used to cook turnips, when one filing from the bowl could buy a hundred suitable pots. It's like a knife of the finest tempering nailed into a wall to hang things on. You say, "But look, I'm using the dagger. It's not lying idle." Do you hear how ludicrous that sounds? For a penny an iron nail could be bought to serve for that. You say, "But I spend my energies on lofty enterprises. I study jurisprudence and philosophy and logic and astronomy and medicine and the rest." But consider why you do those things. They are all branches of yourself. Remember the deep root of your being, the presence of your lord. Give yourself to the one who already owns your breath and your moments. If you don't, you will be like the man who takes a precious dagger and hammers it into his kitchen wall for a peg to hold his dipper gourd. You'll be wasting valuable keenness and forgetting your dignity and purpose.

I dont believe in God. Can you understand that? Look around you man. Cant you see? The clamour and din of those in torment has to be the sound most pleasing to his ear. And I loathe these discussions. The argument of the village atheist whose single passion is to revile endlessly that which he denies the existence of in the first place. Your fellowship is a fellowship of pain and nothing more. And if that pain were actually collective instead of simply reiterative then the sheer weight of it would drag the world from the walls of the universe and send it crashing and burning through whatever night it might yet be capable of engendering until it was not even ash. And justice? Brotherhood? Eternal life? Good god, man. Show me a religion that prepares one for death. For nothingness. There's a church I might enter. Yours prepares one only for more life. For dreams and illusions and lies. If you could banish the fear of death from men's hearts they wouldnt live a day. Who would want this nightmare if not for fear of the next? The shadow of the axe hangs over every joy. Every road ends in death. Or worse. Every friendship. Every love. Torment, betrayal, loss, suffering, pain, age, indignity, and hideous lingering illness. All with a single conclusion. For you and for every one and every thing that you have chosen to care for. There's the true brotherhood. The true fellowship. And everyone is a member for life. You tell me that my brother is my salvation? My salvation? Well then damn him. Damn him in every shape and form and guise. Do I see myself in him? Yes, I do. And what I see sickens me. Do you understand me? Can you understand me?

I dried my hands and took out my pocket-book from the inside of my tunic hanging on the wall. Rinaldi took the note, folded it without rising from the bed and slid it in his breeches pocket. He smiled, "I must make on Miss Barkley the impression of a man of sufficient wealth. You are my great and good friend and financial protector." "Go to hell," I said.

And the roses—the roses! Rising out of the grass, tangled round the sun-dial, wreathing the tree trunks and hanging from their branches, climbing up the walls and spreading over them with long garlands falling in cascades—they came alive day by day, hour by hour. Fair fresh leaves, and buds—and buds—tiny at first but swelling and working Magic until they burst and uncurled into cups of scent delicately spilling themselves over their brims and filling the garden air.

When icicles hang by the wall, And Dick the shepherd blows his nail, And Tom bears logs into the hall, And milk comes frozen home in pail, When blood is nipp'd, and ways be foul, Then nightly sings the staring owl, To-whit! To-who!—a merry note, While greasy Joan doth keel the pot. When all aloud the wind doe blow, And coughing drowns the parson's saw, And birds sit brooding in the snow, And Marian's nose looks red and raw, When roasted crabs hiss in the bowl, Then nightly sings the staring owl, To-whit! To-who!—a merry note, While greasy Joan doth keel the pot.

Look at them. Where are they looking? They're not looking at each other, they're not looking at the art on the wall or the sun in the sky; they're looking at their phones. They hang on to every beep and alert and tweet and status update. I don't want to be that. I'm distracted enough as it is by the actual, tangible, physical world. I've embraced the efficiency of a desktop PC for work and research, and I even use a laptop on my own time, but I draw the line at a cell phone. If I want social media, I'll join a book club. I will not be collared and leashed and tracked like a tagged orca in the ocean.

Despina can be reached in two ways: by ship or by camel. The city displays one face to the traveler arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red wind-socks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, ground-floor windows, each with a woman combing her hair. In the coastline’s haze, the sailor discerns the form of a camel’s withers, an embroidered saddle with glittering fringe between two spotted humps, advancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wine-skins and bags of candied fruit, date wine, tobacco leaves, and already he sees himself at the head of a long caravan taking him away from the desert of the sea, toward oases of fresh water in the palm trees’ jagged shade, toward palaces of thick, whitewashed walls, tiled courts where girls are dancing barefoot, moving their arms, half-hidden by their veils, and half-revealed. Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

I took ten days off and by 11 o’clock on the first morning I had drunk fourteen cups of coffee, read all the newspapers and the Guardian and then… and then what? By lunchtime I was so bored that I decided to hang a few pictures. So I found a hammer, and later a man came to replaster the bits of wall I had demolished. Then I tried to fix the electric gates, which work only when there’s an omega in the month. So I went down the drive with a spanner, and later another man came to put them back together again. I was just about to start on the Aga, which had broken down on Christmas Eve, as they do, when my wife took me on one side by my earlobe and explained that builders do not, on the whole, spend their spare time writing, so writers should not build on their days off. It’s expensive and it can be dangerous, she said.

I love you.” He grinned unexpectedly, traced he lower lip with the tip of a finger. “What is more, I know you love me. You hide it from yourself, but I found it in a little corner, tucked away in your mind.” Shea stared up at the teasing smile on his face, then pushed at the solid wall of his chest. “You’re making that up.” Jacques moved off her, then reached down to pull her to her feet. His clothes were scattered everywhere, and he made no move to retrieve them. Shea’s shirt was still hanging open, and her jeans were down around her ankles. Blushing, she pulled them up. His hand stayed hers, preventing her from fastening them. “Do not bother, Shea. The pools are just ahead.” He walked a few feet, then looked back over his shoulder. “I did not make it up, and I know you are staring at my backside.” Shea tossed her mane of red hair so that it flew in all directions. “Any woman in her right mind would stare at your particular backside, so you don’t need to add that to your arrogant list of virtues. And stay out of my mind unless you’re invited.” She was staring, but she couldn’t help it. He was so beautifully masculine. Jacques reached behind him and captured her hand, lacing their fingers together. “But I find the most interesting things in your mind, my love. Things you do not have any intention of telling me.

This obsession is a curious thing. Sometimes wonder about the merits of devoting so much of myself to a singular climbing objective. Much of the time it beats me down, leaves me hanging my head in despair. But then there are the moments that bring me to life. When excitement wells up inside my chest in a way that doesn’t happen in every day life. Today my fingertips were cracked and bleeding. I made no progress despite great conditions. Now I am on the ground and can hardly contain my excitement to get back on the wall. It’s a crazy rollercoaster and I owe my family and partners a great deal for encouraging me through it all.

The free spirit again draws near to life - slowly, to be sure, almost reluctantly, almost mistrustfully. It again grows warmer about him, yellower as it were; feeling and feeling for others acquire depth, warm breezes of all kind blow across him. It seems to him as if his eyes are only now open to what is close at hand. he is astonished and sits silent: where had he been? These close and closest things: how changed they seem! what bloom and magic they have acquired! He looks back gratefully - grateful to his wandering, to his hardness and self-alienation, to his viewing of far distances and bird-like flights in cold heights. What a good thing he had not always stayed "at home," stayed "under his own roof" like a delicate apathetic loafer! He had been -beside himself-: no doubt about that. Only now does he see himself - and what surprises he experiences as he does so! What unprecedented shudders! What happiness even in the weariness, the old sickness, the relapses of the convalescent! How he loves to sit sadly still, to spin out patience, to lie in the sun! Who understands as he does the joy that comes in winter, the spots of sunlight on the wall! They are the most grateful animals in the world, also the most modest, these convalescents and lizards again half-turned towards life: - there are some among them who allow no day to pass without hanging a little song of praise on the hem of its departing robe. And to speak seriously: to become sick in the manner of these free spirits, to remain sick for a long time and then, slowly, slowly, to become healthy, by which I mean "healthier," is a fundamental cure for all pessimism.

Here one comes upon an all-important English trait: the respect for constituitionalism and legality, the belief in 'the law' as something above the state and above the individual, something which is cruel and stupid, of course, but at any rate incorruptible. It is not that anyone imagines the law to be just. Everyone knows that there is one law for the rich and another for the poor. But no one accepts the implications of this, everyone takes for granted that the law, such as it is, will be respected, and feels a sense of outrage when it is not. Remarks like 'They can't run me in; I haven't done anything wrong', or 'They can't do that; it's against the law', are part of the atmosphere of England. The professed enemies of society have this feeling as strongly as anyone else. One sees it in prison-books like Wilfred Macartney's Walls Have Mouths or Jim Phelan's Jail Journey, in the solemn idiocies that take places at the trials of conscientious objectors, in letters to the papers from eminent Marxist professors, pointing out that this or that is a 'miscarriage of British justice'. Everyone believes in his heart that the law can be, ought to be, and, on the whole, will be impartially administered. The totalitarian idea that there is no such thing as law, there is only power, has never taken root. Even the intelligentsia have only accepted it in theory. An illusion can become a half-truth, a mask can alter the expression of a face. The familiar arguments to the effect that democracy is 'just the same as' or 'just as bad as' totalitarianism never take account of this fact. All such arguments boil down to saying that half a loaf is the same as no bread. In England such concepts as justice, liberty and objective truth are still believed in. They may be illusions, but they are powerful illusions. The belief in them influences conduct,national life is different because of them. In proof of which, look about you. Where are the rubber truncheons, where is the caster oil? The sword is still in the scabbard, and while it stays corruption cannot go beyond a certain point. The English electoral system, for instance, is an all but open fraud. In a dozen obvious ways it is gerrymandered in the interest of the moneyed class. But until some deep change has occurred in the public mind, it cannot become completely corrupt. You do not arrive at the polling booth to find men with revolvers telling you which way to vote, nor are the votes miscounted, nor is there any direct bribery. Even hypocrisy is powerful safeguard. The hanging judge, that evil old man in scarlet robe and horse-hair wig,whom nothing short of dynamite will ever teach what century he is living in, but who will at any rate interpret the law according to the books and will in no circumstances take a money bribe,is one of the symbolic figures of England. He is a symbol of the strange mixture of reality and illusion, democracy and privilege, humbug and decency, the subtle network of compromises, by which the nation keeps itself in its familiar shape.

A Faint Music by Robert Hass Maybe you need to write a poem about grace. When everything broken is broken, and everything dead is dead, and the hero has looked into the mirror with complete contempt, and the heroine has studied her face and its defects remorselessly, and the pain they thought might, as a token of their earnestness, release them from themselves has lost its novelty and not released them, and they have begun to think, kindly and distantly, watching the others go about their days— likes and dislikes, reasons, habits, fears— that self-love is the one weedy stalk of every human blossoming, and understood, therefore, why they had been, all their lives, in such a fury to defend it, and that no one— except some almost inconceivable saint in his pool of poverty and silence—can escape this violent, automatic life’s companion ever, maybe then, ordinary light, faint music under things, a hovering like grace appears. As in the story a friend told once about the time he tried to kill himself. His girl had left him. Bees in the heart, then scorpions, maggots, and then ash. He climbed onto the jumping girder of the bridge, the bay side, a blue, lucid afternoon. And in the salt air he thought about the word “seafood,” that there was something faintly ridiculous about it. No one said “landfood.” He thought it was degrading to the rainbow perch he’d reeled in gleaming from the cliffs, the black rockbass, scales like polished carbon, in beds of kelp along the coast—and he realized that the reason for the word was crabs, or mussels, clams. Otherwise the restaurants could just put “fish” up on their signs, and when he woke—he’d slept for hours, curled up on the girder like a child—the sun was going down and he felt a little better, and afraid. He put on the jacket he’d used for a pillow, climbed over the railing carefully, and drove home to an empty house. There was a pair of her lemon yellow panties hanging on a doorknob. He studied them. Much-washed. A faint russet in the crotch that made him sick with rage and grief. He knew more or less where she was. A flat somewhere on Russian Hill. They’d have just finished making love. She’d have tears in her eyes and touch his jawbone gratefully. “God,” she’d say, “you are so good for me.” Winking lights, a foggy view downhill toward the harbor and the bay. “You’re sad,” he’d say. “Yes.” “Thinking about Nick?” “Yes,” she’d say and cry. “I tried so hard,” sobbing now, “I really tried so hard.” And then he’d hold her for a while— Guatemalan weavings from his fieldwork on the wall— and then they’d fuck again, and she would cry some more, and go to sleep. And he, he would play that scene once only, once and a half, and tell himself that he was going to carry it for a very long time and that there was nothing he could do but carry it. He went out onto the porch, and listened to the forest in the summer dark, madrone bark cracking and curling as the cold came up. It’s not the story though, not the friend leaning toward you, saying “And then I realized—,” which is the part of stories one never quite believes. I had the idea that the world’s so full of pain it must sometimes make a kind of singing. And that the sequence helps, as much as order helps— First an ego, and then pain, and then the singing

It is curious, but till that moment I had never realized what it means to destroy a healthy, conscious man. When I saw the prisoner step aside to avoid the puddle, I saw the mystery, the unspeakable wrongness, of cutting a life short when it is in full tide. This man was not dying, he was alive just as we were alive. All the organs of his body were working—bowels digesting food, skin renewing itself, nails growing, tissues forming—toiling away in solemn foolery. His nails would still be growing when he stood on the drop, when he was falling through the air with a tenth of a second to live. His eyes saw the yellow gravel and the grey walls, and his brain still remembered, foresaw, reasoned—reasoned even about puddles. He and we were a party of men walking together, seeing, hearing, feeling, understanding the same world; and in two minutes, with a sudden snap, one of us would be gone—one mind less, one world less.

On the wall next to the door we’d entered through was a huge floor-to-ceiling bulletin/whiteboard combo and hanging from a thumbtack on the bulletin board amongst pictures and other various sorts of memorabilia was my bra. It’d been washed but it still had a good many blotches of pink on it. If that wasn’t shocking enough, the dialogue written over the last two weeks on the whiteboard pertaining to said bra certainly was. I’ll include the copy just so you can truly appreciate what I’m dealing with here. Tristan’s Mom: What’s this? Tristan: A size 34B lace covered slingshot. Jeff: Nice! Tristan’s Mom: Do I want to know? Tristan: I don’t know, do you? Tristan’s Mom: Not really. Are you planning on returning it or did you win some kind of prize? Tristan: I plead the fifth. Tristan’s Dad: Well done son. Jeff: Ditto! Tristan’s Mom: Don’t encourage him. Tristan: Gee, thanks Mom. Tristan’s Dad: Can’t a father be proud of his only child? Tristan’s Mom: He doesn’t need your help…obviously. Tristan’s Dad: That’s because he takes after me. Tristan: Was there anything else I can do for you two? Tristan’s Mom: Tell her I tried to get the stains out, but I’m afraid they set in before I got to it. Tristan: I’m sure she’ll appreciate your effort, but if I’m any judge (and I’d like to think I am) its size has caused it to become obsolete and she needs to trade up. Jeff: I’m so proud. Tristan: Thanks man. Tristan’s Mom: A name would be nice you know. Tristan: Camie. Tristan’s Mom: Do we get to meet her? Tristan: Sure. I’ll have my people call your people and set it up. Tristan’s Mom: I don’t know why I bother. Do you want anything from the store? Tristan: Yeah, Camie’s sleeping over tonight and I promised her bacon and eggs for breakfast. Jeff’s got the eggs covered but could you pick up some bacon for us and maybe a box of Twinkies for the bus? Thanks, you’re the best. Jeff: I have the eggs covered? Tristan’s Dad: He gets his sense of humor from you. Tristan’s Mom: Flattery will get you everywhere. How would you like your eggs prepared dear?

Kallias is going to explode on me at any moment. He’ll have me thrown into prison until he decides on the proper day and manner for killing me. He’ll— Kallias laughs so loudly and abruptly, I nearly topple out of the armchair. He has his hands on his knees while his whole body shakes from the force of the laughter. What the devils? Did I break the king? He manages to straighten after a moment and look over at me, but then his face contorts and he’s back to uncontrollable laughter. I feel my limbs grow tight, my face grow hot, anger pooling into every muscle. “What the hell is wrong with you?” I snap, shouting over the top of his laughter. He wasn’t even this bad when he read Orrin’s love letter. He says something I can’t quite make out, then rubs tears from his eyes and tries again. “You killed him!” He throws his head back and laughs and laughs. And somehow, I know that I’m not in trouble. How can I be if he’s this jovial over the fact? I could deny it. Plead on my behalf. But Kallias isn’t stupid. Though the constable doesn’t have enough evidence to convict me, Kallias knows the truth of it. “I’ve an inclination to kill again,” I say, glaring at him. Kallias props himself up on the nearest wall of books, catching his breath. Once he’s calm, he strides over to me and places his gloved hands on either side of my head. “My little hellion. Quite the force to be reckoned with, aren’t you? Oh, say you’ll marry me, Alessandra!” I swallow, thoroughly confused. “You’re not going to hang me?” “Hang you?” he repeats, letting his hands fall to his sides. “The man did you wrong, Alessandra. Honestly, you’ve saved me the trouble of tracking him down and killing him myself.

I watch these kids. They don't seem entirely unhappy. A few times I've even circled the Free Clinic on foot, trying to catch a closer glimpse of these kids and their lives as they pop in and out of the clinic's Sputnik-era, gone-to-seed building--Lancaster's future trolls and Popeyes loitering out back having hushed paranoid conversations. And once I even went to have a look where they hang out in a big way, out in the delivery bay behind the now-closed Donut Hut, the delivery bay grotto out back with a floor spongy with pigeon shit, chewing gum, cigarette ashes, and throat oysters--dank and sunless. I went to visit this place once when all the druggies were away, having their druggy lives downtown doing their druggy things: yelling at parked cars and having conversations with amber lights. I visited this place and I was confused: confused and attracted. Who do these people think they are? How can they not care about the future or hot running water or clean sheets or cable TV? These people. And on the walls down at the delivery bay, do you know what they had written? Written in letters several hands high, letters built of IV needles attached to the cement with soiled bandages and wads of chewing gum? They had written the words WE LIKE IT.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

This afternoon I walked through the city, making for a café where I was to meet Raphael. It was about half-past two on a day that had never really got light. It began to snow. The low clouds made a grey ceiling for the city; the snow muffled the noise of the cars until it became almost rhythmical; a steady, shushing noise, like the sound of tides beating endlessly on marble walls. I closed my eyes. I felt calm. There was a park. I entered it and followed a path through an avenue of tall, ancient trees with wide, dusky, grassy spaces on either side of them. The pale snow sifted down through bare winter branches. The lights of the cars on the distant road sparkled through the trees: red, yellow, white. It was very quiet. Though it was not yet twilight the streetlights shed a faint light. People were walking up and down on the path. An old man passed me. He looked sad and tired. He had broken veins on his cheeks and a bristly white beard. As he screwed up his eyes against the falling snow, I realised I knew him. He is depicted on the northern wall of the forty-eighth western hall. He is shown as a king with a little model of a walled city in one hand while the other hand he raises in blessing. I wanted to seize hold of him and say to him: In another world you are a king, noble and good! I have seen it! But I hesitated a moment too long and he disappeared into the crowd. A woman passed me with two children. One of the children had a wooden recorder in his hands. I knew them too. They are depicted in the twenty-seventh southern hall: a statue of two children laughing, one of them holding a flute. I came out of the park. The city streets rose up around me. There was a hotel with a courtyard with metal tables and chairs for people to sit in more clement weather. Today they were snow-strewn and forlorn. A lattice of wire was strung across the courtyard. Paper lanterns were hanging from the wires, spheres of vivid orange that blew and trembled in the snow and the thin wind; the sea-grey clouds raced across the sky and the orange lanterns shivered against them. The Beauty of the House is immeasurable; its Kindness infinite.

What packages we were allowed to receive from our families often contained handkerchiefs, scarves, and other clothing items. For some time, Mike had been taking little scraps of red and white cloth, and with a needle he had fashioned from a piece of bamboo he laboriously sewed an American flag onto the inside of his blue prisoner's shirt. Every afternoon, before we ate our soup, we would hang Mike's flag on the wall of our cell and together recite the Pledge of Allegiance. No other event of the day had as much meaning to us. "The guards discovered Mike's flag one afternoon during a routine inspection and confiscated it. They returned that evening and took Mike outside. For our benefit as much as Mike's they beat him severely, just outside our cell, puncturing his eardrum and breaking several of his ribs. When they had finished, they dragged him bleeding and nearly senseless back into our cell, and we helped him crawl to his place on the sleeping platform. After things quieted down, we all lay down to go to sleep. Before drifting off, I happened to look toward a corner of the room, where one of the four naked lightbulbs that were always illuminated in our cell cast a dim light on Mike Christian. He had crawled there quietly when he thought the rest of us were sleeping. With his eyes nearly swollen shut from the beating, he had quietly picked up his needle and begun sewing a new flag.

I hate the small looking-glass on the stairs," said Jinny. "It shows our heads only; it cuts off our heads...So I skip up the stairs past them, to the next landing, where the long glass hangs, and I see myself entire. I see my body and head in one now; for even in this serge frock they are one, my body and my head. Look, when I move my head I ripple all down my narrow body; even my thin legs rippled like a stalk in the wind. I flicker between the set face of Susan and Rhoda's vagueness; I leap like one of those flames that run between the cracks of the earth; I move, I dance, I never cease to move and dance. I move like the leaf that moved in the hedge as a child and frightened me. i dance over these streaked, these impersonal, distempered walls with their yellow skirting as firelight dances over teapots. i catch fire even from women's cold eyes. when I read, a purple rim runs around the black edge of the textbook. yet I cannot follow any word through its changes. I cannot follow any thought from present to past. I do not stand lost, like Susan, with tears in my eyes remembering home; or lie, like Rhoda, crumpled among the ferns, staining my pink cotton green, while I dream of plants that flower under the sea, and rocks through which the fish swim slowly. I do not dream.

When he can't take anymore, Galen plucks his phone from his pocket and dials, then hangs up. When the call is returned, he says, "Hey, sweet lips." The females at the table hush each other to get a better listen. A few of them whip their heads toward Emma to see if she's on the other end of the conversation. Satisfied she's not, they lean closer. Rachel snorts. "If only you liked sweets." "I can't wait to see you tonight. Wear that pink shirt I like." Rachel laughs. "Sounds like you're in what we humans like to call a pickle. My poor, drop-dead-gorgeous sweet pea. Emma still not talking to you, leaving you alone with all those hormonal girls?" "Eight-thirty? That's so far away. Can't I meet you sooner?" One of the females actually gets up and takes her tray and her attitude to another table. Galen tries not to get too excited. "Do you need to be checked out of school, son? Are you feeling ill?" Galen tosses a glance at Emma, who's picking a pepperoni off her pizza and eyeing it as if it were dolphin dung. "I can't skip school to meet you again, boo. But I'll be thinking about you. No one but you." A few more females get up and stalk their trays to the trash. The cheerleader in front of him rolls her eyes and starts a conversation with the chubby brunette beside her-the same chubby brunette she pushed into a locker to get to him two hours ago. "Be still my heart," Rachel drawls. "But seriously, I can't read your signals. I don't know what you're asking me to do." "Right now, nothing. But I might change my mind about skipping. I really miss you." Rachel clears her throat. "All right, sweet pea. You just let your mama know, and she'll come get her wittle boy from school, okay?" Galen hangs up. Why is Emma laughing again? Mark can't be that funny. The girl beside him clues him in: "Mark Baker. All the girls love him. But not as much as they love you. Except maybe Emma, I guess." "Speaking of all these girls, how did they get my phone number?" She giggles. "It's written on the wall in the girls' bathroom. One hundred hall." She holds her cell phone up to his face. An image of his number scrawled onto a stall door lights up the screen. In Emma's handwriting.

His thought turned to the Ring, but there was no comfort there, only dread and danger. No sooner had he come in sight of Mount Doom, burning far away, than he was aware of a change in his burden. As it drew near the great furnaces where, in the deeps of time, it had been shaped and forged, the Ring's power grew, and it became more fell, untameable except by some mighty will. As Sam stood there, even though the Ring was not on him but hanging by its chain about his neck, he felt himself enlarged, as if he were robed in a huge distorted shadow of himself, a vast and ominous threat halted upon the walls of Mordor. He felt that he had from now on only two choices: to forbear the Ring, though it would torment him; or to claim it, and challenge the Power that sat in its dark hold beyond the valley of shadows. Already the Ring tempted him, gnawing at his will and reason. Wild fantasies arose in his mind; and he saw Samwise the Strong, Hero of the Age, striding with a flaming sword across the darkened land, and armies flocking to his call as he marched to the overthrow of Barad-dur. And then all the clouds rolled away, and the white sun shone, and at his command the vale of Gorgoroth became a garden of flowers and trees and brought forth fruit. He had only to put on the Ring and claim it for his own, and all this could be. In that hour of trial it was his love of his master that helped most to hold him firm; but also deep down in him lived still unconquered his plain hobbit-sense: he knew in the core of his heart that he was not large enough to bear such a burden, even if such visions were not a mere cheat to betray him. The one small garden of a free gardener was all his need and due, not a garden swollen to a realm; his own hands to use, not the hands of others to command. 'And anyway all these notions are only a trick, he said to himself.

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

One night he sits up. In cots around him are a few dozen sick or wounded. A warm September wind pours across the countryside and sets the walls of the tent rippling. Werner’s head swivels lightly on his neck. The wind is strong and gusting stronger, and the corners of the tent strain against their guy ropes, and where the flaps at the two ends come up, he can see trees buck and sway. Everything rustles. Werner zips his old notebook and the little house into his duffel and the man beside him murmurs questions to himself and the rest of the ruined company sleeps. Even Werner’s thirst has faded. He feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters. Out there, through the open flaps of the tent, clouds hurtle above treetops. Toward Germany, toward home. Silver and blue, blue and silver. Sheets of paper tumble down the rows of cots, and in Werner’s chest comes a quickening. He sees Frau Elena kneel beside the coal stove and bank up the fire. Children in their beds. Baby Jutta sleeps in her cradle. His father lights a lamp, steps into an elevator, and disappears. The voice of Volkheimer: What you could be. Werner’s body seems to have gone weightless under his blanket, and beyond the flapping tent doors, the trees dance and the clouds keep up their huge billowing march, and he swings first one leg and then the other off the edge of the bed. “Ernst,” says the man beside him. “Ernst.” But there is no Ernst; the men in the cots do not reply; the American soldier at the door of the tent sleeps. Werner walks past him into the grass. The wind moves through his undershirt. He is a kite, a balloon. Once, he and Jutta built a little sailboat from scraps of wood and carried it to the river. Jutta painted the vessel in ecstatic purples and greens, and she set it on the water with great formality. But the boat sagged as soon as the current got hold of it. It floated downstream, out of reach, and the flat black water swallowed it. Jutta blinked at Werner with wet eyes, pulling at the battered loops of yarn in her sweater. “It’s all right,” he told her. “Things hardly ever work on the first try. We’ll make another, a better one.” Did they? He hopes they did. He seems to remember a little boat—a more seaworthy one—gliding down a river. It sailed around a bend and left them behind. Didn’t it? The moonlight shines and billows; the broken clouds scud above the trees. Leaves fly everywhere. But the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems to Werner like impossibly slow, imperturbable rays. They hang across the buckling grass. Why doesn’t the wind move the light? Across the field, an American watches a boy leave the sick tent and move against the background of the trees. He sits up. He raises his hand. “Stop,” he calls. “Halt,” he calls. But Werner has crossed the edge of the field, where he steps on a trigger land mine set there by his own army three months before, and disappears in a fountain of earth.

The hanging gate, of something like trelliswork, was propped on a pole, and he could see that the house was tiny and flimsy. He felt a little sorry for the occupants of such a place--and then asked himself who in this world had a temporary shelter. [Anonymous, Kokinshuu 987: Where in all this world shall I call home? A temporary shelter is my home.] A hut, a jeweled pavilion, they were the same. A pleasantly green vine was climbing a board wall. The white flowers, he said to himself, had a rather self-satisfied look about them. 'I needs must ask the lady far yonder," he said, as if to himself. [Anonymous, Kokinshuu 1007: I needs must ask the lady far yonder What flower it is off there that blooms so white.] An attendant came up, bowing deeply. "The white flowers far off yonder are known as 'evening faces," he said. "A very human sort of name--and what a shabby place they have picked to bloom in." It was as the man said. The neighborhood was a poor one, chiefly of small houses. Some were leaning precariously, and there were "evening faces" at the sagging eaves. A hapless sort of flower. Pick one off for me, will you?" The man went inside the raised gate and broke off a flower. A pretty little girl in long, unlined yellow trousers of raw silk came out through a sliding door that seemed too good for the surroundings. Beckoning to the man, she handed him a heavily scented white fan. Put it on this. It isn't much of a fan, but then it isn't much of a flower either.

The missing remained missing and the portraits couldn't change that. But when Akhmed slid the finished portrait across the desk and the family saw the shape of that beloved nose, the air would flee the room, replaced by the miracle of recognition as mother, father, sister, brother, aunt, and cousin found in that nose the son, brother, nephew, and cousin that had been, would have been, could have been, and they might race after the possibility like cartoon characters dashing off a cliff, held by the certainty of the road until they looked down -- and plummeted is the word used by the youngest brother who, at the age of sixteen, is tired of being the youngest and hopes his older brother will return for many reasons, not least so he will marry and have a child and the youngest brother will no longer be youngest; that youngest brother, the one who has nothing to say about the nose because he remembers his older brother's nose and doesn't need the nose to mean what his parents need it to mean, is the one who six months later would be disappeared in the back of a truck, as his older brother was, who would know the Landfill through his blindfold and gag by the rich scent of clay, as his older brother had known, whose fingers would be wound with the electrical wires that had welded to his older brother's bones, who would stand above a mass grave his brother had dug and would fall in it as his older brother had, though taking six more minutes and four more bullets to die, would be buried an arm's length of dirt above his brother and whose bones would find over time those of his older brother, and so, at that indeterminate point in the future, answer his mother's prayer that her boys find each other, wherever they go; that younger brother would have a smile on his face and the silliest thought in his skull a minute before the first bullet would break it, thinking of how that day six months earlier, when they all went to have his older brother's portrait made, he should have had his made, too, because now his parents would have to make another trip, and he hoped they would, hoped they would because even if he knew his older brother's nose, he hadn't been prepared to see it, and seeing that nose, there, on the page, the density of loss it engendered, the unbelievable ache of loving and not having surrounded him, strong enough to toss him, as his brother had, into the summer lake, but there was nothing but air, and he'd believed that plummet was as close as they would ever come again, and with the first gunshot one brother fell within arms' reach of the other, and with the fifth shot the blindfold dissolved and the light it blocked became forever, and on the kitchen wall of his parents' house his portrait hangs within arm's reach of his older brother's, and his mother spends whole afternoons staring at them, praying that they find each other, wherever they go.

What do they think has happened, the old fools, To make them like this ? Do they somehow suppose It's more grown-up when your mouth hangs open and drools And you keep on pissing yourself, and can't remember Who called this morning ? Or that, if they only chose, They could alter things back to when they danced all night, Or went to their wedding, or sloped arms some September ? Or do they fancy there's really been no change, And they've always behaved as if they were crippled or tight, Or sat through days of thin continuous dreaming Watching light move ? If they don't (and they can't), it's strange: Why aren't they screaming ? At death, you break up: the bits that were you Start speeding away from each other for ever With no one to see. It's only oblivion, true: We had it before, but then it was going to end, And was all the time merging with a unique endeavour To bring to bloom the million-petalled flower Of being here. Next time you can't pretend There'll be anything else. And these are the first signs: Not knowing how, not hearing who, the power Of choosing gone. Their looks show that they're for it: Ash hair, toad hands, prune face dried into lines- How can they ignore it ? Perhaps being old is having lighted rooms Inside your head, and people in them, acting. People you know, yet can't quite name; each looms Like a deep loss restored, from known doors turning, Setting down a Iamp, smiling from a stair, extracting A known book from the shelves; or sometimes only The rooms themselves, chairs and a fire burning, The blown bush at the window, or the sun' s Faint friendliness on the wall some lonely Rain-ceased midsummer evening. That is where they live: Not here and now, but where all happened once. This is why they give An air of baffled absence, trying to be there Yet being here. For the rooms grow farther, leaving Incompetent cold, the constant wear and tear Of taken breath, and them crouching below Extinction' s alp, the old fools, never perceiving How near it is. This must be what keeps them quiet. The peak that stays in view wherever we go For them is rising ground. Can they never tell What is dragging them back, and how it will end ? Not at night? Not when the strangers come ? Never, throughout The whole hideous inverted childhood? Well, We shall find out. - The Old Fools

I say is someone in there?’ The voice is the young post-New formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spirals of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the past generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white- party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speaker’s blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgement of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world's best filter: this is a fact. Breathes in and out like a savvy diver… –and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting muddy juice and blue smoke and dots of mercuric red into the claw-footed trough, and can hear again and seems to see, against the fire of her closed lids’ blood, bladed vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue light from one sky, searching.

Putting It into Practice: Neutralizing Negativity Use the techniques below anytime you’d like to lessen the effects of persistent negative thoughts. As you try each technique, pay attention to which ones work best for you and keep practicing them until they become instinctive. You may also discover some of your own that work just as well. ♦ Don’t assume your thoughts are accurate. Just because your mind comes up with something doesn’t necessarily mean it has any validity. Assume you’re missing a lot of elements, many of which could be positive. ♦ See your thoughts as graffiti on a wall or as little electrical impulses flickering around your brain. ♦ Assign a label to your negative experience: self-criticism, anger, anxiety, etc. Just naming what you are thinking and feeling can help you neutralize it. ♦ Depersonalize the experience. Rather than saying “I’m feeling ashamed,” try “There is shame being felt.” Imagine that you’re a scientist observing a phenomenon: “How interesting, there are self-critical thoughts arising.” ♦ Imagine seeing yourself from afar. Zoom out so far, you can see planet Earth hanging in space. Then zoom in to see your continent, then your country, your city, and finally the room you’re in. See your little self, electrical impulses whizzing across your brain. One little being having a particular experience at this particular moment. ♦ Imagine your mental chatter as coming from a radio; see if you can turn down the volume, or even just put the radio to the side and let it chatter away. ♦ Consider the worst-case outcome for your situation. Realize that whatever it is, you’ll survive. ♦ Think of all the previous times when you felt just like this—that you wouldn’t make it through—and yet clearly you did. We’re learning here to neutralize unhelpful thoughts. We want to avoid falling into the trap of arguing with them or trying to suppress them. This would only make matters worse. Consider this: if I ask you not to think of a white elephant—don’t picture a white elephant at all, please!—what’s the first thing your brain serves up? Right. Saying “No white elephants” leads to troops of white pachyderms marching through your mind. Steven Hayes and his colleagues studied our tendency to dwell on the forbidden by asking participants in controlled research studies to spend just a few minutes not thinking of a yellow jeep. For many people, the forbidden thought arose immediately, and with increasing frequency. For others, even if they were able to suppress the thought for a short period of time, at some point they broke down and yellow-jeep thoughts rose dramatically. Participants reported thinking about yellow jeeps with some frequency for days and sometimes weeks afterward. Because trying to suppress a self-critical thought only makes it more central to your thinking, it’s a far better strategy to simply aim to neutralize it. You’ve taken the first two steps in handling internal negativity: destigmatizing discomfort and neutralizing negativity. The third and final step will help you not just to lessen internal negativity but to actually replace it with a different internal reality.