Wall Plates With Quotes

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

When you drop a glass or a plate to the ground, it makes a crashing sound. When a window shatters, a table breaks, or a picture fall of the wall, it makes noise. But as for your heart, when that breaks, it's completely silent... and you almost wish there was a noise to distract you from the pain.

An overhead light blinked and extinguished. Armitage drew the pistol with his right hand. He swung and aimed, checking there were no innocent people obstructing the way. None. Fired a single shot. It sailed over a plant and table setting. The round hit an inch from the watcher's heart. On impact the brown-haired assailant tipped. Jake ducked. A table toppled. The watcher groaned as the force of the momentum pushed him toward the floor-to-ceiling glass wall. A second table collapsed, plates thrown asunder. Jake stepped forward, arm stretched and gun straight. A waitress hugged herself, crying. Two more male patrons hit the floor and crawled between chairs.

... the cupboards start opening and closing by themselves, drawers slamming shut and the walls start to bleed. Slamming doors and smashing plates. Anna is acting like a common poltergeist. How embarrassing.

Why is it we want so badly to memorialize ourselves? Even while we're still alive. We wish to assert our existence, like dogs peeing on fire hydrants. We put on display our framed photographs, our parchment diplomas, our silver-plated cups; we monogram our linen, we carve our names on trees, we scrawl them on washroom walls. It's all the same impulse. What do we hope from it? Applause, envy, respect? Or simply attention, of any kind we can get? At the very least we want a witness. We can't stand the idea of our own voices falling silent finally, like a radio running down.

I finally found him sitting on his balcony. He was leaning back against the wall with his eyes closed. Soft music played, and a cool ocean breeze blew back my hair as I stepped on to the balcony and inhaled the scent of the sea. "May I join you?" I asked softly. He didn’t bother opening his eyes. "If you like." The moon in the dark sky looked like a giant white plate dipping its edge into the ocean. We sat quietly for a while. I closed my eyes too and listened to him hum along in harmony with the music. "You haven’t played your guitar in a long time. I miss it," I said when the song was finished. Ren turned away. "I fear there is no music left in me.

When you drop a glass or a plate to the ground it makes a long crashing sound. When a window shatters, a table leg breaks, or when a picture falls off the wall it makes a noise. But as for your heart, when that breaks, it's completely silent. You would think as it's so important it would make the loudest noise in the whole world, or even have some sort of ceremonious sound like the gong of a cymbal or the ringing of a bell. But it's silent and you almost wish there was a noise to distract you from the pain.

STEALING THE CAR, I WOULDN’T HAVE BEEN SURPRISED IF THEY’D EXPELLED YOU, YOU WAIT TILL I GET HOLD OF YOU, I DON’T SUPPOSE YOU STOPPED TO THINK WHAT YOUR FATHER AND I WENT THROUGH WHEN WE SAW IT WAS GONE —” Mrs. Weasley’s yells, a hundred times louder than usual, made the plates and spoons rattle on the table, and echoed deafeningly off the stone walls. People throughout the hall were swiveling around to see who had received the Howler, and Ron sank so low in his chair that only his crimson forehead could be seen. “— LETTER FROM DUMBLEDORE LAST NIGHT, I THOUGHT YOUR FATHER WOULD DIE OF SHAME, WE DIDN’T BRING YOU UP TO BEHAVE LIKE THIS, YOU AND HARRY COULD BOTH HAVE DIED —” Harry had been wondering when his name was going to crop up. He tried very hard to look as though he couldn’t hear the voice that was making his eardrums throb. “— ABSOLUTELY DISGUSTED — YOUR FATHER’S FACING AN INQUIRY AT WORK, IT’S ENTIRELY YOUR FAULT AND IF YOU PUT ANOTHER TOE OUT OF LINE WE’LL BRING YOU STRAIGHT BACK HOME.” A ringing silence fell.

I wrote too many poems in a language I did not yet know how to speak But I know now it doesn't matter how well I say grace if I am sitting at a table where I am offering no bread to eat So this is my wheat field you can have every acre, Love this is my garden song this is my fist fight with that bitter frost tonight I begged another stage light to become that back alley street lamp that we danced beneath the night your warm mouth fell on my timid cheek as i sang maybe i need you off key but in tune maybe i need you the way that big moon needs that open sea maybe i didn't even know i was here til i saw you holding me give me one room to come home to give me the palm of your hand every strand of my hair is a kite string and I have been blue in the face with your sky crying a flood over Iowa so you mother will wake to Venice Lover, I smashed my glass slipper to build a stained glass window for every wall inside my chest now my heart is a pressed flower and a tattered bible it is the one verse you can trust so I'm putting all of my words in the collection plate I am setting the table with bread and grace my knees are bent like the corner of a page I am saving your place

When you drop a glass or a plate to the ground it makes a loud crashing sound. When a window shatters a table leg breaks or when a picture falls off the wall it makes a noise. But as for your heart when that breaks it s completely silent. You would think as it s so important it would make the loudest noise in the whole world or even have some[...] But it s silent and you almost wish there was a noise to distract you from the pain.

She was a fairy-tale princess out of his comic book fantasies. She glowed like a star. He hated it. It made his jaw clench [...]. It made him want to wreck something, punch walls, hurl plates. He wanted to drag her into a corner and rip off her glittering veil of illusions. Remind her that she was his beautiful wild animal, not this remote, perfect being. She was earth and sweat and blood and bone, she was hunger and need and howling at the moon. Just like him. Part of him.

I looked past him, to the sea framed in the arched opening of the wall, to the line formed where the water met the sky. The world was not round, I realized. The world was a plate. 'Please,' he whispered. 'Don't.' Unlike Rurick, Plesec did not die confused.

The Death of Allegory I am wondering what became of all those tall abstractions that used to pose, robed and statuesque, in paintings and parade about on the pages of the Renaissance displaying their capital letters like license plates. Truth cantering on a powerful horse, Chastity, eyes downcast, fluttering with veils. Each one was marble come to life, a thought in a coat, Courtesy bowing with one hand always extended, Villainy sharpening an instrument behind a wall, Reason with her crown and Constancy alert behind a helm. They are all retired now, consigned to a Florida for tropes. Justice is there standing by an open refrigerator. Valor lies in bed listening to the rain. Even Death has nothing to do but mend his cloak and hood, and all their props are locked away in a warehouse, hourglasses, globes, blindfolds and shackles. Even if you called them back, there are no places left for them to go, no Garden of Mirth or Bower of Bliss. The Valley of Forgiveness is lined with condominiums and chain saws are howling in the Forest of Despair. Here on the table near the window is a vase of peonies and next to it black binoculars and a money clip, exactly the kind of thing we now prefer, objects that sit quietly on a line in lower case, themselves and nothing more, a wheelbarrow, an empty mailbox, a razor blade resting in a glass ashtray. As for the others, the great ideas on horseback and the long-haired virtues in embroidered gowns, it looks as though they have traveled down that road you see on the final page of storybooks, the one that winds up a green hillside and disappears into an unseen valley where everyone must be fast asleep.

If one is looking for cultural testosterone and raging off-the-wall competition in the world of communications, Manhattan was - and is - home plate.

If there was magic in this world, it happened within sight of the three bases and home plate. All the gems in my world that decorated the walls and floors of dragons' lairs, the sword hilts of privileged princes, and crowns worn by emperors and kings, were nothing compared to the beauty and splendor of the diamond in Wrigley Stadium. It wasn't just a yard with dirt, chalk lines, bases, and a small hill in its center. Wrigley was a field of dreams. Dreams of eternal glory for the men who ran to the outfield, who took their respective bases, and prepared for battle against those who would dare enter their hallowed realm. Dreams for the kids in the stands, all wanting to don a uniform, kiss their moms goodbye, and wield their bats as enchanted weapons destined to knock the cover off the ball. And for the adults who had already selected their lot in life, Wrigley made the dreams of past innocence, lost wonder, and the promise that there was something inherently good still left in the world, come true. Yeah, corny as hell. But all true.

In life, the visible surface of the Sperm Whale is not the least among the many marvels he presents. Almost invariably it is all over obliquely crossed and re-crossed with numberless straight marks in thick array, something like those in the finest Italian line engravings. But these marks do not seem to be impressed upon the isinglass substance above mentioned, but seem to be seen through it, as if they were engraved upon the body itself. Nor is this all. In some instances, to the quick, observant eye, those linear marks, as in a veritable engraving, but afford the ground for far other delineations. These are hieroglyphical; that is, if you call those mysterious cyphers on the walls of pyramids hieroglyphics, then that is the proper word to use in the present connexion. By my retentive memory of the hieroglyphics upon one Sperm Whale in particular, I was much struck with a plate representing the old Indian characters chiselled on the famous hieroglyphic palisades on the banks of the Upper Mississippi. Like those mystic rocks, too, the mystic-marked whale remains undecipherable.

Ronan wasn’t exactly sure why he was angry. Although Gansey had done nothing to invoke his ire, he was definitely part of the problem. Currently, he propped his cell between ear and shoulder as he eyed a pair of plastic plates printed with smiling tomatoes. His unbuttoned collar revealed a good bit of his collarbone. No one could deny that Gansey was a glorious portrait of youth, the well-tended product of a fortunate and moneyed pairing. Ordinarily, he was so polished that it was bearable, though, because he was clearly not the same species as Ronan’s rough-and-ready family. But tonight, under the fluorescent lights of Dollar City, Gansey’s hair was scuffed and his cargo shorts were a greasy ruin from mucking over the Pig. He was barelegged and sockless in his Top-Siders and very clearly a real human, an attainable human, and this, somehow, made Ronan want to smash his fist through a wall.

When Seymour and I were five and three, Les and Bessie played on the same bill for a couple of weeks with Joe Jackson -- the redoubtable Joe Jackson of the nickel-plated trick bicycle that shone like something better than platinum to the very last row of the theater. A good many years later, not long after the outbreak of the Second World War, when Seymour and I had just recently moved into a small New York apartment of our own, our father -- Les, as he'll be called hereafter -- dropped in on us one evening on his way home from a pinochle game. He quite apparently had held very bad cards all afternoon. He came in, at any rate, rigidly predisposed to keep his overcoat on. He sat. He scowled at the furnishings. He turned my hand over to check for cigarette-tar stains on my fingers, then asked Seymour how many cigarettes he smoked a day. He thought he found a fly in his highball. At length, when the conversation -- in my view, at least -- was going straight to hell, he got up abruptly and went over to look at a photograph of himself and Bessie that had been newly tacked up on the wall. He glowered at it for a full minute, or more, then turned around, with a brusqueness no one in the family would have found unusual, and asked Seymour if he remembered the time Joe Jackson had given him, Seymour, a ride on the handle bars of his bicycle, all over the stage, around and around. Seymour, sitting in an old corduroy armchair across the room, a cigarette going, wearing a blue shirt, gray slacks, moccasins with the counters broken down, a shaving cut on the side of his face that I could see, replied gravely and at once, and in the special way he always answered questions from Les -- as if they were the questions, above all others, he preferred to be asked in his life. He said he wasn't sure he had ever got off Joe Jackson's beautiful bicycle.

Insomniacs should not be forced to exist in a realm with reflective glass. From the first look I’m boxed in a prism, rainbows charming the other dark-circled self into sharing my prison. One eye turns on the other, each accusing the other of being responsible for an appearance oddly elfin, before exiting head and bouncing like lottery balls through the mirror walls and then drifting up and out the open and unguarded Well of the Wyrd. There, everyone with mirrors and mushrooms is waiting for me, faded and dissolved into giggles.

The first thing you see, covering yards and yards of one wall, is an object that looks like a nickel-plated nuclear reactor, but is really the stove.

Lawless stood off to the side, one black boot resting to the wall, the same shade of long coat hanging down by his ankles, his shaved head and ink along his neck giving the only impression needed, he was a mean bastard when he had to be. He was flipping a silver coin along the backs of his knuckles like he was out for the day and enjoying himself. Crazy fucker was juiced just waiting for the call to the plate, his bag of tricks sitting at his feet as though he'd brought his gym clothes to work. There was nothing in that bag made for fun, not if you were on the receiving end anyway. Lawless always had a lot of fun using his tools.

So you can’t eat normal food anymore—or are you too good for it?” A question and a challenge. Rhys’s fork clanked on his plate. Elain made a small, distressed noise. And though Nesta had let me use this house, though she’d tried to cross the wall for me and we’d worked out a tentative truce, the tone, the disgust and disapproval … I laid my hand flat on the table. “I can eat, drink, fuck, and fight just as well as I did before. Better, even.” Cassian choked on his water. Azriel shifted on his seat, angling to spring between us if need be.

Here’s what you have to understand about intergalactic civil wars: they’re functionally identical to the knockdown, door-slamming, plate-smashing, wall-penetrating, shriek-sobbing drama of any high-strung couple you’ve ever met.

On the back stucco wall, above the dog's water bowl, a huge stain of smeared blood and fur was all that remained of Snookums. It reminded me of my plate after I ate waffles with blueberry syrup, which until right then, was my favorite.

Like That" Love me like a wrong turn on a bad road late at night, with no moon and no town anywhere and a large hungry animal moving heavily through the brush in the ditch. Love me with a blindfold over your eyes and the sound of rusty water blurting from the faucet in the kitchen, leaking down through the floorboards to hot cement. Do it without asking, without wondering or thinking anything, while the machinery’s shut down and the watchman’s slumped asleep before his small TV showing the empty garage, the deserted hallways, while the thieves slice through the fence with steel clippers. Love me when you can’t find a decent restaurant open anywhere, when you’re alone in a glaring diner with two nuns arguing in the back booth, when your eggs are greasy and your hash browns underdone. Snick the buttons off the front of my dress and toss them one by one into the pond where carp lurk just beneath the surface, their cold fins waving. Love me on the hood of a truck no one’s driven in years, sunk to its fenders in weeds and dead sunflowers; and in the lilies, your mouth on my white throat, while turtles drag their bellies through slick mud, through the footprints of coots and ducks. Do it when no one’s looking, when the riots begin and the planes open up, when the bus leaps the curb and the driver hits the brakes and the pedal sinks to the floor, while someone hurls a plate against the wall and picks up another, love me like a freezing shot of vodka, like pure agave, love me when you’re lonely, when we’re both too tired to speak, when you don’t believe in anything, listen, there isn’t anything, it doesn’t matter; lie down with me and close your eyes, the road curves here, I’m cranking up the radio and we’re going, we won’t turn back as long as you love me, as long as you keep on doing it exactly like that.

You think you know the story so well. It’s a mansion inside your head, each room just waiting to be described, but pretty much every memoirist I’ve ever talked to finds the walls of such rooms changing shape around her. There are shattering earthquakes, tectonic-plate-type shifts. Or it’s like memory is a snow globe that invariably gets shaken so as to shroud the events inside.

I once went to report on a village in Russia, a community of artists who were forced to flee the cities! I'd heard that paintings hung everywhere! I heard you couldn't see the walls through all of the paintings! They'd painted the ceilings, the 82 plates, the windows, the lampshades! Was it an act of rebellion! An act of expression! Were the paintings good, or was that beside the point! I needed to see it for myself, and I needed to tell the world about it! I used to live for reporting like that! Stalin found out about the community and sent his thugs in, just a few days before I got there, to break all of their arms! That was worse than killing them! It was a horrible sight, Oskar: their arms in crude splints, straight in front of them like zombies! They couldn't feed themselves, because they couldn't get their hands to their mouths! So you know what they did!' 'They starved?' 'They fed each other! That's the difference between heaven and hell! In hell we starve! In heaven we feed each other!

Their whispers choked me, turned the food in my mouth to ash. I pushed away my plate and sought out corners and spare halls where I might sit undisturbed, except for the occasional passing servant. My narrow world narrowed further: to the cracks in the floor, the carved whorls in the stone walls. They rasped softly as I traced them with my fingertip.

The syrup we pour over pancakes on a winter morning is summer sunshine flowing in golden streams to pool on our plates.

feeling gold murdery yet?” she asks. “Have the urge to make gold start pissing down the walls?” “Umm…no.” “See? You’re doing great.

You know what I love? The spaces between I love you. The tap of your fork against the plate and how my cup of wine clicks against our table. The scratchy voice coming from the radio in the other room. The quiet sound of your hand reaching across the table and whispering over mine. How your voice sounds like your mouth on the back of my neck. The soft murmur of our easy conversation. Between these quiet Tuesday night routines, following every comma and right after every pause for breath, is I, love, and you. In the middle of every I love you is a sink full of dishes, whisper of socked feet tangled in white sheets, and gentle kisses against curved cheeks. We lyric ourselves into the laundry that needs to be finished, into the ends of every smile that follows me repeating your name. We write ourselves into the grocery bags we need to carry, the cracks running up our rented walls, the sides of the bed we choose to drag up the sails of heavy eyed dreams. Like the spaces between our fingers, in the spaces between I, love, and you, we wait. The in-betweens have always been my favorite.

History textbooks still present Union and Confederate sympathizers as equally idealistic. The North fought to hold the Union together, while the South fought, according to 'The American Way', 'for the preservation of their rights and the freedom to decide for themselves'. Nobody fought to preserve racial slavery; nobody fought to end it. As one result, unlike the Nazi swastika, which lies disgraced, even in the North whites still proudly display the stars and bars of the Confederacy on den walls, license plates, t-shirts, and high school logos. Even some (white) Northerners vaguely regret the defeat of the 'lost cause'. It is as if racism against blacks could be remembered with nostalgia. In this sense, long after Appomattox, the Confederacy finally won.

Let him silence me. Let him lead me. Let him fool me. Let him cage me. Let him hurt me. I let him drug me and hold me against that cold wall, let him take another part of me that I’ll never get back.

If it wasn't for Prohibition, we wouldn't have NASCAR, and if it wasn't for NASCAR we wouldn't have Dale Earnhardt, and if we didn't have Dale Earnhardt, then our mamaws wouldn't have any plates on their walls.

I tried to imagine what it would be like if Constantin were my husband. It would mean getting up at seven and cooking him eggs and bacon and toast and coffee and dawdling about in my nightgown and curlers after he’d left for work to wash up the dirty plates and make the bed, and then when he came home after a lively, fascinating day he’d expect a big dinner, and I’d spend the evening washing up even more dirty plates till I fell into bed, utterly exhausted. This seemed a dreary and wasted life for a girl with fifteen years of straight A’s, but I knew that’s what marriage was like, because cook and clean and wash was just what Buddy Willard’s mother did from morning till night, and she was the wife of a university professor and had been a private school teacher herself. 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.

A white, gummy substance smeared on the club’s plate-glass window blocked a view of the interior from the sidewalk. Inside, signs on the wall read: “Tough Guys Don’t Squeal,” “Don’t Talk. This Place Is Bugged” and “The Enemy Is Listening.

If only I could cry. I am beyond that. The light, the light, lending itself to empty downtown Saturday, but still the stupid insensate cars flush by oblivious to their stupidity, my silent plea. It isn't Mexico. It's not Paris. It's a painting by Hopper come to life. I am trapped inside a dead thing. Language is impossible here, even in English. Who has the arrogance to say: I'm mad, this is my crazy view of things, help me. I'm trapped in a silent world, a tableau of forty years ago. The walls are different, the tables, the heights of the veiling and the chairs. I loom above this letter. The view past the rows of cakes in the plate glass window is unfamiliar. I am a ghost. There is nothing now between me and death. Death is the unfamiliarity of everything, the strangeness of the once familiar. The same spatial configurations only the light is hollow, sick. I think I lack the energy to hit expensive discos which I don't know where they are to be rejected tonight. I look passable. My energy's low. I love to dance but despair is not a good muse. This Mexico, babe. Men who don't love you but act wildly as if they do initially. Self-involved, narcissistic men... The men drink and philosophize about pain. The women live it solo and culturelessly. No one cries, except easily, sentimentally. The devil, therefore God, exists. Oaxaca was a pushover compared to this. Pain had boundaries there. Spare us big cities, oh lord!

There was a legend on the road that the Mormon Tabernacle in Salt Lake City was a veritable storehouse of gold, silver, and precious stones and it was this that lured Smiler back to that city. At that time a high adobe wall surrounded the block on which stood the Tabernacle and the then unfinished Mormon Temple. We looked it over for several days and nights but could get nothing tangible to work on. Sunday we attended services and the plate was to be seen, silver and gold; more than we could carry away if we got it. At last we decided to go over the wall and give the place a good reconnaissance. If it looked feasible we could get a couple of other idle burglars and give it a thorough looting. On top of the wall we pulled up our light ladder and placed it inside. Smiler went down first. I barely had my feet off the ladder when a dozen men rose up out of the shrubbery armed with shotguns, and surrounded us. We stood still by the wall. One of them spoke, sternly, evenly: “Go back over that wall.” Little we knew the Mormons. We went up the ladder, pulled it up, and went down and away. When Smiler’s good humor returned he held up his hand. “Kid, I’ll never try to rob another Mormon. I’ll go to work first.

It was haunting to be entangled in this obnoxious cycle. I want to get out of this viciousness. That pizza is staring at me. I think that slice of pie might hurt me. Thirty-five calories for an Oreo cookie; 75caloriesfor a slice of bread; 285 for a slice of pizza; 350for a plate of pasta. You know, maybe I’ll just study the digits of eggs, wheat, vegetables, apples, oranges. Ugh! Stop. It all hurts so much. That’s it. Make it stop. Please, I beg you. Just make it stop. I felt like the walking and living encyclopedia of numbers and digits.

Hope does not mean that our protests will suddenly awaken the dead consciences, the atrophied souls, of the plutocrats running Halliburton, Goldman Sachs, Exxon Mobil or the government. Hope does not mean we will reform Wall Street swindlers and speculators. Hope does not mean that the nation’s ministers and rabbis, who know the words of the great Hebrew prophets, will leave their houses of worship to practice the religious beliefs they preach. Most clerics like fine, abstract words about justice and full collection plates, but know little of real hope. Hope knows that unless we physically defy government control we are complicit in the violence of the state. All who resist keep hope alive. All who succumb to fear, despair and apathy become enemies of hope. Hope has a cost. Hope is not comfortable or easy. Hope requires personal risk. Hope does not come with the right attitude. Hope is not about peace of mind. Hope is an action. Hope is doing something. Hope, which is always nonviolent, exposes in its powerlessness the lies, fraud and coercion employed by the state. Hope does not believe in force. Hope knows that an injustice visited on our neighbor is an injustice visited on us all. Hope sees in our enemy our own face. Hope is not for the practical and the sophisticated, the cynics and the complacent, the defeated and the fearful. Hope is what the corporate state, which saturates our airwaves with lies, seeks to obliterate. Hope is what our corporate overlords are determined to crush. Be afraid, they tell us. Surrender your liberties to us so we can make the world safe from terror. Don’t resist. Embrace the alienation of our cheerful conformity. Buy our products. Without them you are worthless. Become our brands. Do not look up from your electronic hallucinations to think. No. Above all do not think. Obey. The powerful do not understand hope. Hope is not part of their vocabulary. They speak in the cold, dead words of national security, global markets, electoral strategy, staying on message, image and money. Those addicted to power, blinded by self-exaltation, cannot decipher the words of hope any more than most of us can decipher hieroglyphics. Hope to Wall Street bankers and politicians, to the masters of war and commerce, is not practical. It is gibberish. It means nothing. I cannot promise you fine weather or an easy time. I cannot pretend that being handcuffed is pleasant. If we resist and carry out acts, no matter how small, of open defiance, hope will not be extinguished. Any act of rebellion, any physical defiance of those who make war, of those who perpetuate corporate greed and are responsible for state crimes, anything that seeks to draw the good to the good, nourishes our souls and holds out the possibility that we can touch and transform the souls of others. Hope affirms that which we must affirm. And every act that imparts hope is a victory in itself.

Like most people who love to cook, I like the tangible things. I like the way the knife claps when it meets the cutting board. I like the haze of sweet air that hovers over a hot cake as it sits, cooling, on the counter. I like the way a strip of orange peel looks on an empty plate. But what I like even more are the intangible things: the familiar voices that fall out of the folds of an old cookbook, or the scenes that replay like a film reel across my kitchen wall. When we fall in love with a certain dish, I think that’s what we’re often responding to: that something else behind the fork or the spoon, the familiar story that food tells.

Melissa popped open the clattery little Rotring tin. Pencils, putty rubber, scalpel. She sharpened a 3B, letting the curly shavings fall into the wicker bin, then paused for a few seconds, finding a little place of stillness before starting to draw the flowers. Art didn't count at school because it didn't get you into law or banking or medicine. It was just a fluffy thing stuck to the side of Design and Technology, a free A level for kids who could do it, like a second language, but she loved charcoal and really good gouache, she loved rolling sticky black ink on to a lino plate and heaving on the big black arm of the Cope press, the quiet and those big white walls.

I pushed myself up onto my hands and knees, ignoring the bite of the frosty air on my bare skin. I launched myself in the direction of the door, fumbling around until I found it. I tried shaking the handle, jiggling it, still thinking, hoping, praying that this was some big birthday surprise, and that by the time I got back inside, there would be a plate of pancakes at the table and Dad would bring in the presents, and we could—we could—we could pretend like the night before had never happened, even with the evidence in the next room over. The door was locked. “I’m sorry!” I was screaming. Pounding my fists against it. “Mommy, I’m sorry! Please!” Dad appeared a moment later, his stocky shape outlined by the light from inside of the house. I saw Mom’s bright-red face over his shoulder; he turned to wave her off and then reached over to flip on the overhead lights. “Dad!” I said, throwing my arms around his waist. He let me keep them there, but all I got in return was a light pat on the back. “You’re safe,” he told me, in his usual soft, rumbling voice. “Dad—there’s something wrong with her,” I was babbling. The tears were burning my cheeks. “I didn’t mean to be bad! You have to fix her, okay? She’s…she’s…” “I know, I believe you.” At that, he carefully peeled my arms off his uniform and guided me down, so we were sitting on the step, facing Mom’s maroon sedan. He was fumbling in his pockets for something, listening to me as I told him everything that had happened since I walked into the kitchen. He pulled out a small pad of paper from his pocket. “Daddy,” I tried again, but he cut me off, putting down an arm between us. I understood—no touching. I had seen him do something like this before, on Take Your Child to Work Day at the station. The way he spoke, the way he wouldn’t let me touch him—I had watched him treat another kid this way, only that one had a black eye and a broken nose. That kid had been a stranger. Any hope I had felt bubbling up inside me burst into a thousand tiny pieces. “Did your parents tell you that you’d been bad?” he asked when he could get a word in. “Did you leave your house because you were afraid they would hurt you?” I pushed myself up off the ground. This is my house! I wanted to scream. You are my parents! My throat felt like it had closed up on itself. “You can talk to me,” he said, very gently. “I won’t let anyone hurt you. I just need your name, and then we can go down to the station and make some calls—” I don’t know what part of what he was saying finally broke me, but before I could stop myself I had launched my fists against him, hitting him over and over, like that would drive some sense back into him. “I am your kid!” I screamed. “I’m Ruby!” “You’ve got to calm down, Ruby,” he told me, catching my wrists. “It’ll be okay. I’ll call ahead to the station, and then we’ll go.” “No!” I shrieked. “No!” He pulled me off him again and stood, making his way to the door. My nails caught the back of his hand, and I heard him grunt in pain. He didn’t turn back around as he shut the door. I stood alone in the garage, less than ten feet away from my blue bike. From the tent that we had used to camp in dozens of times, from the sled I’d almost broken my arm on. All around the garage and house were pieces of me, but Mom and Dad—they couldn’t put them together. They didn’t see the completed puzzle standing in front of them. But eventually they must have seen the pictures of me in the living room, or gone up to my mess of the room. “—that’s not my child!” I could hear my mom yelling through the walls. She was talking to Grams, she had to be. Grams would set her straight. “I have no child! She’s not mine—I already called them, don’t—stop it! I’m not crazy!

Here's a hint for you. You don't ask someone to marry you and then roar in their face." He glared at Pippa, incredulous. Then, he dropped his jaw and roared again, so loud that the stone walls of the room shook, and Pippa’s entire face felt blasted with the fury of his anger. Somewhere in the background, plates rattled and something fell off the wall. But

This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals sails appeared charmed. They blazed red in the day and silver at night, like a magician’s cloak, hinting at mysteries concealed beneath, which Tella planned to uncover that night. Drunken laughter floated above her as Tella delved deeper into the ship’s underbelly in search of Nigel the Fortune-teller. Her first evening on the vessel she’d made the mistake of sleeping, not realizing until the following day that Legend’s performers had switched their waking hours to prepare for the next Caraval. They slumbered in the day and woke after sunset. All Tella had learned her first day aboard La Esmeralda was that Nigel was on the ship, but she had yet to actually see him. The creaking halls beneath decks were like the bridges of Caraval, leading different places at different hours and making it difficult to know who stayed in which room. Tella wondered if Legend had designed it that way, or if it was just the unpredictable nature of magic. She imagined Legend in his top hat, laughing at the question and at the idea that magic had more control than he did. For many, Legend was the definition of magic. When she had first arrived on Isla de los Sueños, Tella suspected everyone could be Legend. Julian had so many secrets that she’d questioned if Legend’s identity was one of them, up until he’d briefly died. Caspar, with his sparkling eyes and rich laugh, had played the role of Legend in the last game, and at times he’d been so convincing Tella wondered if he was actually acting. At first sight, Dante, who was almost too beautiful to be real, looked like the Legend she’d always imagined. Tella could picture Dante’s wide shoulders filling out a black tailcoat while a velvet top hat shadowed his head. But the more Tella thought about Legend, the more she wondered if he even ever wore a top hat. If maybe the symbol was another thing to throw people off. Perhaps Legend was more magic than man and Tella had never met him in the flesh at all. The boat rocked and an actual laugh pierced the quiet. Tella froze. The laughter ceased but the air in the thin corridor shifted. What had smelled of salt and wood and damp turned thick and velvet-sweet. The scent of roses. Tella’s skin prickled; gooseflesh rose on her bare arms. At her feet a puddle of petals formed a seductive trail of red. Tella might not have known Legend’s true name, but she knew he favored red and roses and games. Was this his way of toying with her? Did he know what she was up to? The bumps on her arms crawled up to her neck and into her scalp as her newest pair of slippers crushed the tender petals. If Legend knew what she was after, Tella couldn’t imagine he would guide her in the correct direction, and yet the trail of petals was too tempting to avoid. They led to a door that glowed copper around the edges. She turned the knob. And her world transformed into a garden, a paradise made of blossoming flowers and bewitching romance. The walls were formed of moonlight. The ceiling was made of roses that dripped down toward the table in the center of the room, covered with plates of cakes and candlelight and sparkling honey wine. But none of it was for Tella. It was all for Scarlett. Tella had stumbled into her sister’s love story and it was so romantic it was painful to watch. Scarlett stood across the chamber. Her full ruby gown bloomed brighter than any flowers, and her glowing skin rivaled the moon as she gazed up at Julian. They touched nothing except each other. While Scarlett pressed her lips to Julian’s, his arms wrapped around her as if he’d found the one thing he never wanted to let go of. This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals were as ephemeral as feelings, eventually they would wilt and die, leaving nothing but the thorns.

All elves were jaw-droppingly gorgeous, but there was something particularly handsome about Keefe Sencen—and the boy was well aware of it. Though he seemed a little off his game at the moment. His smug smirk was noticeably absent as he scrounged around his blankets, searching for something. “Here,” Ro said, tossing Keefe a wrinkled black tunic from the floor. “Bet you’re wishing it didn’t smell so much like sweaty boy in here, huh?” “It’s fine,” Sophie promised, even if the room could definitely use some airing out. A good cleaning would work wonders too. Everywhere she looked were piles of crumpled clothes and scattered shoes and stacks of papers and plates of half-eaten food. And all the thick curtains were drawn tight, leaving the space dim and stuffy. The room was clearly designed to be beautiful, with marble floors broken up by rugs woven to look like pristine sand, and seafoam walls inlaid with starfish and anemone shells. But under Keefe’s care, it was a disaster zone. Even the furniture had a strange randomness to the arrangement that made Sophie wonder if he’d moved it all just to bug his dad.

But it was above all at mealtimes that she could bear it no longer, in that little room on the ground floor, with the smoking stove, the creaking door, the oozing walls, the damp floor-tiles; all the bitterness of life seemed to be served to her on her plate, and, with the steam from the boiled beef, there rose from the depths of her soul other exhalations as it were of disgust.

The danger of tolerating any hurtful behavior is that it can all too quickly become the norm. If we allow ourselves to "get away" with anything we know to be destructive - such as slapping a child or partner in the face - without taking responsibility for the gravity of what we have done, we are that much more likely to minimize the offense: "I may have overreacted, but she's got to learn not to set me off like that." . . . "because the partner is perceived as the cause of the violence, the perpetrator feels justified in using it." Once the actions are justified, they are more likely to be repeated. It is also important to remember that, in most relationships, both parties engage in some form of the abuses listed above. Angry remarks or mildly aggressive actions - insulting someone's intelligence, throwing a plate of food against the wall - can both provoke and be used to justify retaliatory actions that may be more dangerous, like pushing and shoving someone down the stairs. On the other hand, one sort of abuse does not necessarily lead to another. Rather, whether or not the violence escalates depends on the person committing it.

Her small bedroom was decorated with cheerfully embroidered samplers, which she had stitched herself, and a shelf containing an intricate shellwork tableau. In her parlor, the chimneypiece was crammed with pottery owls, sheep, and dogs, and dishes painted with blue and white Chinoiserie fruits and flowers. Along the picture rail of one wall was an array of brightly colored plates. Dotted about the other walls were half a dozen seascape engravings showing varying climactic conditions, from violent tempest to glassy calm. To the rear was an enormous closet that she used as a storeroom, packed with bottled delicacies such as greengage plums in syrup, quince marmalade, nasturtium pickles, and mushroom catsup, which infused all three rooms with the sharp but tantalizing aromas of vinegar, fruit, and spices.

Are you the owner of this car?" A cop has something you don't have, something you gave him earlier. "No, I'm just delivering it to Oklahoma City for a lady. " "Do you have plates for this car?" A cop needn't be vicious, but he can be so, safely. "Just those stickers." "Do you have the registration?" Presidents and premiers can annihilate millions, but only a cop can explain away your solitary murder.

We have enjoyed the feast generously laid out for us by Mother Earth, but now the plates are empty and the dining room is a mess. It's time we started doing the dishes in Mother Earth's kitchen. Doing dishes has gotten a bad rap, but everyone who migrates to the kitchen after a meal knows that that's where the laughter happens, the good conversations, the friendships. Doing dishes, like doing restoration, forms friendships.

After a haf hour or so, they was beatin on the tables with they knives an forks like in a prison riot, an I knowed I had to do somethin fast, so I turned the boiler up high as it could go. I’m settin there watchin it, so nervous I didn’t know what to do, when all of a sudden the first sergeant come bustin thru the door. “What in hell is goin on here?” he axed. “Where is these men’s food?” “It is almost ready, Sergeant,” I say, an jus about then, the boiler commenced to rumble an shake. Steam begun to come out of the sides an one of the legs on the boiler tore loose from the floor. “What is that?” the sergeant axed. “Is you cookin somethin in that boiler!” “That is the supper,” I says, an the sergeant got this real amazed look on his face, an a secont later, he got a real frightened look, like you might get jus before an automobile wreck, an then the boiler blew up. I am not exactly sure what happened nex. I do remember that it blowed the roof off the mess hall an blowed all the winders out an the doors too. It blowed the dishwasher guy right thru a wall, an the guy what was stackin plates jus took off up in the air, sort of like Rocket Man. Sergeant an me, we is miraculously spared somehow, like they say will happen when you are so close to a han grenade that you aren’t hurt by

Why is it we want so badly to memorialize ourselves? Even while we’re still alive. We wish to assert our existence, like dogs peeing on fire hydrants. We put on display our framed photographs, our parchment diplomas, our silver-plated cups; we monogram our linen, we carve our names on trees, we scrawl them on washroom walls. It’s all the same impulse. What do we hope from it? Applause, envy, respect? Or simply attention, of any kind we can get?

She loved old things. The brown-brick place was a survivor of the 1907 earthquake and fire, and proudly bore a plaque from the historical society. The building had a haunted history- it was the site of a crime of passion- but Tess didn't mind. She'd never been superstitious. The apartment was filled with items she'd collected through the years, simply because she liked them or was intrigued by them. There was a balance between heirloom and kitsch. The common thread seemed to be that each object had a story, like a pottery jug with a bas-relief love story told in pictures, in which she'd found a note reading, "Long may we run. -Gilbert." Or the antique clock on the living room wall, each of its carved figures modeled after one of the clockmaker's twelve children. She favored the unusual, so long as it appeared to have been treasured by someone, once upon a time. Her mail spilled from an antique box containing a pigeon-racing counter with a brass plate engraved from a father to a son. She hung her huge handbag on a wrought iron finial from a town library that had burned and been rebuilt in a matter of weeks by an entire community. Other people's treasures captivated her. They always had, steeped in hidden history, bearing the nicks and gouges and fingerprints of previous owners. She'd probably developed the affinity from spending so much of her childhood in her grandmother's antique shop.

Why is it we want so badly to memorialize ourselves? Even while we’re still alive. We wish to assert our existence, like dogs peeing on fire hydrants. We put on display our framed photographs, our parchment diplomas, our silver-plated cups; we monogram our linen, we carve our names on trees, we scrawl them on washroom walls. It’s all the same impulse. What do we hope from it? Applause, envy, respect? Or simply attention, of any kind we can get? At the very least we want a witness.

Time: 0529:45. The firing circuit closed; the X-unit discharged; the detonators at thirty-two detonation points simultaneously fired; they ignited the outer lens shells of Composition B; the detonation waves separately bulged, encountered inclusions of Baratol, slowed, curved, turned inside out, merged to a common inward-driving sphere; the spherical detonation wave crossed into the second shell of solid fast Composition B and accelerated; hit the wall of dense uranium tamper and became a shock wave and squeezed, liquefying, moving through; hit the nickel plating of the plutonium core and squeezed, the small sphere shrinking, collapsing into itself, becoming an eyeball; the shock wave reaching the tiny initiator at the center and swirling through its designed irregularities to mix its beryllium and polonium; polonium alphas kicking neutrons free from scant atoms of beryllium: one, two, seven, nine, hardly more neutrons drilling into the surrounding plutonium to start the chain reaction.

Giants with the bases loaded. The Mets were up by three. The pitcher launched the ball toward home plate. It sliced through the air at ninety-two miles an hour and connected dead-on with Barry Bonds’s bat. Crack! The ball soared over the field and dropped into a fan’s leather glove, two rows behind the wall in the bleacher section. Home run! James and Thomas leaped from their seats. They whooped and hollered, smacking each other’s palms in high tens. “Game over!” Thomas clapped his hands. “Time to pay up.

Why, all our art treasures of to-day are only the dug-up commonplaces of three or four hundred years ago. I wonder if there is real intrinsic beauty in the old soup-plates, beer-mugs, and candle-snuffers that we prize so now, or if it is only the halo of age glowing around them that gives them their charms in our eyes. The “old blue” that we hang about our walls as ornaments were the common every-day household utensils of a few centuries ago; and the pink shepherds and the yellow shepherdesses that we hand round now for all our friends to gush over, and pretend they understand, were the unvalued mantel-ornaments that the mother of the eighteenth century would have given the baby to suck when he cried. Will it be the same in the future? Will the prized treasures of to-day always be the cheap trifles of the day before? Will rows of our willow-pattern dinner-plates be ranged above the chimneypieces of the great in the years 2000 and odd? Will the white cups with the gold rim and the beautiful gold flower inside (species unknown), that our Sarah Janes now break in sheer light-heartedness of spirit, be carefully mended, and stood upon a bracket, and dusted only by the lady of the house? That china dog that ornaments the bedroom of my furnished lodgings. It is a white dog. Its eyes blue. Its nose is a delicate red, with spots. Its head is painfully erect, its expression is amiability carried to verge of imbecility. I do not admire it myself. Considered as a work of art, I may say it irritates me. Thoughtless friends jeer at it, and even my landlady herself has no admiration for it, and excuses its presence by the circumstance that her aunt gave it to her. But in 200 years’ time it is more than probable that that dog will be dug up from somewhere or other, minus its legs, and with its tail broken, and will be sold for old china, and put in a glass cabinet. And people will pass it round, and admire it. They will be struck by the wonderful depth of the colour on the nose, and speculate as to how beautiful the bit of the tail that is lost no doubt was. We, in this age, do not see the beauty of that dog. We are too familiar with it. It is like the sunset and the stars: we are not awed by their loveliness because they are common to our eyes. So it is with that china dog. In 2288 people will gush over it. The making of such dogs will have become a lost art. Our descendants will wonder how we did it, and say how clever we were. We shall be referred to lovingly as “those grand old artists that flourished in the nineteenth century, and produced those china dogs.” The “sampler” that the eldest daughter did at school will be spoken of as “tapestry of the Victorian era,” and be almost priceless. The blue-and-white mugs of the present-day roadside inn will be hunted up, all cracked and chipped, and sold for their weight in gold, and rich people will use them for claret cups; and travellers from Japan will buy up all the “Presents from Ramsgate,” and “Souvenirs of Margate,” that may have escaped destruction, and take them back to Jedo as ancient English curios.

Footsteps from the stairwell startle him out of the past. He turns around as Emma's mother takes the last step into the dining area, Emma right behind her. Mrs. McIntosh glides over and puts her arm around him. The smile on her face is genuine, but Emma's smile is more like a straight line. And she's blushing. "Galen, it's very nice to meet you," she says, ushering him into the kitchen. "Emma tells me you're taking her to the beach behind your house today. To swim?" "Yes, ma'am." Her transformation makes him wary. She smiles. "Well, good luck with getting her in the water. Since I'm a little pressed for time, I can't follow you over there, so I just need to see your driver's license while Emma runs outside to get your plate number." Emma rolls her eyes as she shuffles through a drawer and pulls out a pen and paper. She slams the door behind her when she leaves, which shakes the dishes on the wall. Galen nods, pulls out his wallet, and hands over the fake license. Mrs. McIntosh studies it and rummages through her purse until she produces a pen-which she uses to write on her hand. “Just need your license number in case we ever have any problems. But we’re not going to have any problems, are we, Galen? Because you’ll always have my daughter-my only daughter-home on time, isn’t that right?” He nods, then swallows. She holds out his license. When he accepts it, she grabs his wrist, pulling him close. She glances at the garage door and back to him. “Tell me right now, Galen Forza. Are you or are you not dating my daughter?” Great. She still doesn’t believe Emma. If she won’t believe them anyway, why keep trying to convince her? If she thinks they’re dating, the time he intends to spend with Emma will seem normal. But if they spend time together and tell her they’re not dating, she’ll be nothing but suspicious. Possibly even spy on them-which is less than ideal. So, dating Emma is the only way to make sure she mates with Grom. Things just get better and better. “Yes,” he says. “We’re definitely dating.” She narrows her eyes. “Why would she tell me you’re not?” He shrugs. “Maybe she’s ashamed of me.” To his surprise, she chuckles. “I seriously doubt that, Galen Forza.” Her humor is short lived. She grabs a fistful of his T-shirt. “Are you sleeping with her?” Sleeping…Didn’t Rachel say sleeping and mating are the same thing? Dating and mating are similar. But sleeping and mating are the same exact same. He shakes his head. “No, ma’am.” She raises a no-nonsense brow. “Why not? What’s wrong with my daughter?” That is unexpected. He suspects this woman can sense a lie like Toraf can track Rayna. All she’s looking for is honesty, but the real truth would just get him arrested. I’m crazy about your daughter-I’m just saving her for my brother. So he seasons his answer with the frankness she seems to crave. “There’s nothing wrong with your daughter, Mrs. McIntosh. I said we’re not sleeping together. I didn’t say I didn’t want to.” She inhales sharply and releases him. Clearing her throat, she smoothes out his wrinkled shirt with her hand, then pats his chest. “Good answer, Galen. Good answer.” Emma flings open the garage door and stops short. “Mom, what are you doing?” Mrs. McIntosh steps away and stalks to the counter. “Galen and I were just chitchatting. What took you so long?” Galen guesses her ability to sense a lie probably has something to do with her ability to tell one. Emma shoots him a quizzical look, but he returns a casual shrug. Her mother grabs a set of keys from a hook by the refrigerator and nudges her daughter out of the way, but not before snatching the paper out of her hand.

I asked a nurse for dental floss and was told that I am not allowed dental floss. Apparently dental floss can be used for several functions besides the maintenance of healthy gums. These apparently include self-harm. When instructed that I was not permitted dental floss because of “risks it raises associated with suicide” I envisioned a noose made entirely of floss. Realizing such a noose would require a dramatic amount of floss to effectively uphold any human person, I brought it to the attention of a nurse. “I don’t believe that even the most practiced engineers could fashion any functioning noose out of a single container of floss,” I say. “People use it to cut themselves,” she explained. “Oh,” I replied. I had just about come to terms with the no-floss rule until the hospital, in a flagrant display of disrespect for its patients, chose to serve us corn on the cob for lunch. “Are you aware that we are not allowed dental floss?” I yelled at the nurse bringing me the corn. I then threw the corn violently from my plate into the nearest wall.

before their clan’s elders. They wear clothes too formal for them: layered robes of muted color for the boys, intricate shadesilk wraps for the girls. Parents line the walls nearby, anxious to hear the nature of their children laid bare. One by one, the children step before their clan’s First Elder. He holds a shallow bowl, twice as wide as a dinner plate, that holds nothing more than still water. But it is not water, the parents know. It is madra, raw power of spirit, purified and distilled. The material from which souls are made.

Isn't she doing this too? Connecting and disconnecting. Facing grief then turning from it. One minute she is caught up in minutiae. Will her feet get sore standing in heels at the church? Have they made enough food? Will the kitten get scared by dozens of strangers in the house? Should she shut him in a room upstairs? The next moment she is weeping uncontrollably, taken over by pain so profound she can barely move. Then there was the salad bowl incident; her own fury scared her. But maybe these are different ways of dealing with events for all of them. Molly and Luke are infantile echos of her, their emotions paired down, their reactions simpler but similar. For if they have difficulty taking in what has happened, then so too does she. Why is she dressing up, for instance? Why can't she wear clothes to reflect the fact that she is at her lowest end? A tracksuit, a jumper full of holes, dirty jeans? Why can't she leave her hair a mess, her face unmade up? The crazed and grieving Karen doesn't care about her appearance. Yet she must go through with this charade, polish herself and her children to perfection. She, in particular, must hold it together. Oh, she can cry, yes, that's allowed. People expect that. They will sympathize. But what about screaming, howling, and hurling plates like she did yesterday? She imagines the shocked faces as she shouts and swears and smashes everything. But she is so angry, surely others must feel the same. Maybe a plate throwing ceremony would be a more fitting ritual than church, then everyone could have a go...smashing crockery up against the back garden wall.

He led Jess to a painting of a Black woman selling flowers. She leaned in and read the wall plate. “Frédéric Bazille, Young Woman with Peonies. I don’t know this artist.” “He was in the outer circle of the French Impressionists. Look how she offers the bouquet to a potential client, but she doesn’t seem to care if he buys them or not. She’s got that little frown line between her eyes—see, there?—‘Take it or leave it, mister’—as if she’s impatient that he can’t make up his mind. She’s not a bit ingratiating. And the peonies, of course, are Bazille’s bisou to Manet, who was the leader of the French avant-garde at the time. Manet loved peonies, cultivated them. There’s a peony at the center of the bouquet that the Black servant is offering the prostitute in Manet’s Olympia. That painting was at the height of its notoriety when Bazille painted this one. Everyone in the Paris art world would’ve got the reference.” “A Black servant in Olympia? I only remember the scowly White nude, and how upset everyone was that Manet didn’t paint her in a classical style.” Theo pulled out his cell phone and called up the image with a few taps. “Here,” he said, handing it to Jess. “Wow. I’ve looked at that picture dozens of times. How could I not have noticed her?” Theo frowned. “I’d be surprised, I guess, except that I once sat through a forty-minute lecture on that painting and the professor didn’t mention her. He spent more time on the black cat at the nude’s feet than the interesting woman who occupies half the canvas. I call it the Invisible Man effect, or in this case, Invisible Woman. Which is kind of the whole point of my work. To say, Hey, we’re here. We’ve always been here.

And all the time boys were being born or growing up in the parish, expecting to follow the plough all their lives or, at most, to do a little mild soldiering or go to work in a town. Gallipoli? Kut? Vimy Ridge? Ypres? What did they know of such places? But they were to know them, and when the time came they did not flinch. Eleven out of that tiny community never came back again. A brass plate on the wall of the church immediately over the old end house seat is engraved with their names. A double column, five names long, then, last and alone, the name of Edmund.

Overcooked, flabby pasta or a blob of tomato ketchup was enough to incense Frank; a plate of soggy pasta in Matteo’s Italian restaurant in Los Angeles, owned by his childhood buddy, Matty Jordan, had Frank storming into the kitchens. He looked around wildly, “Where are all the Italians?” he roared at the startled Filipino kitchen staff. Not content, he shot back upstairs and threw his plate of pasta against the wall. As he walked out, he dipped his finger in the tomato sauce and signed the smear: Picasso (Matty very good-naturedly put a frame around this later).

The July sun blazed in the middle of the sky and the atmosphere was gay and carefree, while in the windless air not a leaf stirred in the poplars and willows lining the banks of the river. In the distance ahead, the conspicuous bulk of Mont-Valérien loomed, rearing the ramparts of its fortifications in the glare of the sun. On the right, the gentle slopes of Louveciennes, following the curve of the river, formed a semi-circle within which could be glimpsed, through the dense and shady greenery of their spacious lawns, the white-painted walls of weekend retreats. On the land adjoining La Grenouillère strollers were sauntering under the gigantic trees which help to make this part of the island one of the most delightful parks imaginable. Busty women with peroxided hair and nipped-in waists could be seen, made up to the nines with blood red lips and black-kohled eyes. Tightly laced into their garish dresses they trailed in all their vulgar glory over the fresh green grass. They were accompanied by men whose fashion-plate accessories, light gloves, patent-leather boots, canes as slender as threads and absurd monocles made them look like complete idiots.

a painting that occupies a whole wall. It portrays all the Seymours that grace the records, right back to where writing began: other Seymours, imagined ones, carry the line back to paradise, situated top centre. Far-sighted ancestors wear plate armour, years before its manufacture. They carry broadswords, poll axes, horseman’s hammers and maces. Their brides are represented by their family emblems. Give or take a beard, generations of Seymours bear a marked family resemblance: that is, they look like Edward. They shelter under their coats of arms as if standing out of the rain.

It’s not polite to stare. Please stop.” “Never.” Jesse sat in his usual position on the trunk, chin in palm, watching her flip pancakes in the iron skillet. “Then let’s have it out right now.” Plopping onto the stool, Susannah returned his stare. Sunlight echoed off the snow outside and the newly plastered wall, lighting the green and gold sparks in his brown eyes. “Your pancakes are burning, Mrs. Mason,” he said without blinking. “That’s your breakfast, Mr. Mason.” Lunging across the table, Jesse kissed her on the nose. “Ha! You blinked!” “No fair.” Susannah loaded his plate, burnt side up. “Fair or foul, I must have my morning kiss.

From his corner office on the ground floor of the St. Cyril station house, Inspector Dick has a fine view of the parking lot. Six Dumpsters plated and hooped like iron maidens against bears. Beyond the Dumpsters a subalpine meadow, and then the snow¬ capped ghetto wall that keeps the Jews at bay. Dick is slouched against the back of his two-thirds-scale desk chair, arms crossed, chin sunk to his chest, star¬ing out the casement window. Not at the mountains or the meadow, grayish green in the late light, tufted with wisps of fog, or even at the armored Dumpsters. His gaze travels no farther than the parking lot—no farther than his 1961 Royal Enfield Crusader. Lands¬man recognizes the expression on Dick's face. It's the expression that goes with the feeling Landsman gets when he looks at his Chevelle Super Sport, or at the face of Bina Gelbfish. The face of a man who feels he was born into the wrong world. A mistake has been made; he is not where he belongs. Every so often he feels his heart catch, like a kite on a telephone wire, on something that seems to promise him a home in the world or a means of getting there. An American car manufactured in his far-off boyhood, say, or a motor¬cycle that once belonged to the future king of England, or the face of a woman worthier than himself of being loved.

Mom?” Then again, louder. “Mom?” She turned around so quickly, she knocked the pan off the stove and nearly dropped the gray paper into the open flame there. I saw her reach back and slap her hand against the knobs, twisting a dial until the smell of gas disappeared. “I don’t feel good. Can I stay home today?” No response, not even a blink. Her jaw was working, grinding, but it took me walking over to the table and sitting down for her to find her voice. “How—how did you get in here?” “I have a bad headache and my stomach hurts,” I told her, putting my elbows up on the table. I knew she hated when I whined, but I didn’t think she hated it enough to come over and grab me by the arm again. “I asked you how you got in here, young lady. What’s your name?” Her voice sounded strange. “Where do you live?” Her grip on my skin only tightened the longer I waited to answer. It had to have been a joke, right? Was she sick, too? Sometimes cold medicine did funny things to her. Funny things, though. Not scary things. “Can you tell me your name?” she repeated. “Ouch!” I yelped, trying to pull my arm away. “Mom, what’s wrong?” She yanked me up from the table, forcing me onto my feet. “Where are your parents? How did you get in this house?” Something tightened in my chest to the point of snapping. “Mom, Mommy, why—” “Stop it,” she hissed, “stop calling me that!” “What are you—?” I think I must have tried to say something else, but she dragged me over to the door that led out into the garage. My feet slid against the wood, skin burning. “Wh-what’s wrong with you?” I cried. I tried twisting out of her grasp, but she wouldn’t even look at me. Not until we were at the door to the garage and she pushed my back up against it. “We can do this the easy way or the hard way. I know you’re confused, but I promise that I’m not your mother. I don’t know how you got into this house, and, frankly, I’m not sure I want to know—” “I live here!” I told her. “I live here! I’m Ruby!” When she looked at me again, I saw none of the things that made Mom my mother. The lines that formed around her eyes when she smiled were smoothed out, and her jaw was clenched around whatever she wanted to say next. When she looked at me, she didn’t see me. I wasn’t invisible, but I wasn’t Ruby. “Mom.” I started to cry. “I’m sorry, I didn’t mean to be bad. I’m so sorry, I’m so sorry! Please, I promise I’ll be good—I’ll go to school today and won’t be sick, and I’ll pick up my room. I’m sorry. Please remember. Please!” She put one hand on my shoulder and the other on the door handle. “My husband is a police officer. He’ll be able to help you get home. Wait in here—and don’t touch anything.” The door opened and I was pushed into a wall of freezing January air. I stumbled down onto the dirty, oil-stained concrete, just managing to catch myself before I slammed into the side of her car. I heard the door shut behind me, and the lock click into place; heard her call Dad’s name as clearly as I heard the birds in the bushes outside the dark garage. She hadn’t even turned on the light for me. I pushed myself up onto my hands and knees, ignoring the bite of the frosty air on my bare skin. I launched myself in the direction of the door, fumbling around until I found it. I tried shaking the handle, jiggling it, still thinking, hoping, praying that this was some big birthday surprise, and that by the time I got back inside, there would be a plate of pancakes at the table and Dad would bring in the presents, and we could—we could—we could pretend like the night before had never happened, even with the evidence in the next room over. The door was locked. “I’m sorry!” I was screaming. Pounding my fists against it. “Mommy, I’m sorry! Please!” Dad appeared a moment later, his stocky shape outlined by the light from inside of the house. I saw Mom’s bright-red face over his shoulder; he turned to wave her off and then reached over to flip on the overhead lights.

All my life, men have had me, but I have never had a man.’ The barest of breaths sucks in through his teeth. A stillness passing between us like a fragile pane of glass. ‘I am no man.’ ‘No. You’re more,’ I agree. ‘Because no matter what I do, you cling to my skin and borrow into my conscience, and as angry as I am at you for that, I don’t want to lie to myself anymore. I am sick to death of repression. Of denial. Of holding back. After twenty damn years, I don’t wanna tell myself no.’ ‘So don’t,’ he says, practically cursing the word. ‘What do you want, Auren? Admit to me what you really want.’ There’s an internal compass inside of me that laid still for so long, stuck behind its arc of glass, listless and without hope. But it’s been spinning since the moment I left Highbell, begging me to follow my instincts. To move toward something better. It’s time I start following that compass. I just didn’t expect for it a point to him. My pulse pounds and my hands tremble, because when denial drains out of you, it leaves you shaken and scared. What are we without our white lies and protective walls? I’m laid bare, heart raw and vulnerabilities wrenched open, thoroughly ruined while somehow feeling inexplicably right. Which is why I let that last wall tumble down when I look Slade in the eye and say, ‘You, Slade. I want you.

I suppose that woman is the reason you've gone all fee-male on us, ain't it?" Gavin guffawed at his father's query. "Hell,Pa, ain't you noticed in all this time? Willie,here,is one of them double-breasted critters. She's supposed to wear dresses." Willow met Rider's eyes, her face flaming in embarrassment. Forgetting for the moment all that Miriam had impressed upon her, she picked up the empty bread plate and hurled it at her brother's head. Gavin dodged it and watched as it smashed into a hundred pieces against the wall behind him. Leaping to his feet, he laughed. "Now, that's the Willie we know and love." "Enough! Dammit, Gavin, you got more lip than a muley cow," Owen growled.

We need a new direction, and we need it soon. Instead of death by food pyramid, we can have life by educated freedom—a freedom in which we’re released from the rules of the federal government, the dogma of the fad diet du jour, the smooth words of a health guru, the marionetting of powerful industries, the misinterpretation of science, and the mass confusion that keeps us incapacitated. As we demolish the walls of the pyramids, plates, and other shapes that ultimately lock us inside a dietary dictatorship, we’re left with a horizon-wide landscape to explore—and with it, the opportunity to pursue what works for us and guiltlessly leave behind what doesn’t. But there’s just one catch. In order to reach that point of liberation, we can’t keep doing what we’ve been doing—or else we’ll keep getting what we’ve been getting.

His bald head gleamed in the light which fell through the window and cast his shadow along the floor and up the wall. His chest was hairless, his thighs and shanks skinny but overlaid with ropes of muscle. Still, he thought, it’s an adult’s body we got here, no question about that. There’s the pot belly that comes with a few too many good steaks, a few too many bottles of Kirin beer, a few too many poolside lunches where you had the Reuben or the French dip instead of the diet plate. Your seat’s dropped, too, Bill old buddy. You can still serve an ace if you’re not too hung over and if your eye’s in, but you can’t hustle after the old Dunlop the way you could when you were seventeen. You got lovehandles and your balls are starting to get that middle-aged dangly look. There’s lines on your face that weren’t there when you were seventeen.

A girl who is a writer… A girl who is a writer. She’s a woman who lives in her head because the voices of the characters who reside there are ever present demanding their voices be heard. A girl who is a writer. She’s the girl with a cup of coffee and a plate of food that has gotten cold because she couldn’t stop telling the story. A girl who is a writer. She’s the one who lives in a coffee stained flannel shirt but you won’t mind because it’s you who brings her the addiction that fuels her word count. A girl who is a writer. You’ll share her with the world and they will see parts of her naked soul, but you won’t mind because it’s who she is, not what she does. A girl who is a writer. She’s the one who dips her quill in the blood stains of her pain and splatters it on the world’s wall of graffiti filled artists. Her voice will stand out because she is a girl who is a writer. © Suzanne Steele

The RBMK forgoes a conventional pressure vessel and instead only uses reinforced concrete around the sides of the reactor, with a heavy metal plate called a biological shield at the top and bottom. Adding a proper pressure vessel, built to the standards and complexity required by the RBMK design, was estimated to double the cost of each reactor. The fourth and final barrier is an airtight containment building. It is well known that nuclear containment buildings are very, very heavily reinforced, with concrete and/or steel walls often several meters thick. They are built to withstand the external impact of an airliner crashing into them at hundreds of miles-per-hour, but their other purpose is to contain the unthinkable breach of a pressure vessel. Unbelievably, the RBMK’s accompanying reactor building is insufficient to be labelled as a true containment building, presumably as part of further cost saving measures.

Around me shone the kitchen I'd worked in each day: the copper pans hung neatly, the scratched wooden table and neat blue plates set in rows on the dresser. I got up to rake out the cinders and suddenly clutched at the black stone of the hearth. How long was it since as a new girl I'd first spiked a fowl and set it to roast on that fire? What great sides of beef had we roasted on the smoke-jack, while bacon dangled on hooks, and meat juices basted puddings as light as eggy clouds? Never, in all my ten years at Mawton, had I let that fire die out. Every dawn, in winter or summer, I'd riddled the dying embers and set new kindling on the top. I touched the rough stone and let my cheek press on its everlasting warmth, wishing I could take that loyal fire with me. Foolish, I know, but a fire is a cook's truest friend. It was a good fire at Mawton: blackened with hundreds of years of smoking hot dinners. I think no heathen ever worshipped fire like a cook. So I kissed the smutty hearth wall and packed instead my little tinderbox, to light new fires I knew not where.

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

We were in Pittsburgh at the end of September. The Pirates had already clinched the division, and the great Roberto Clemente was looking for his 3,000th career hit. I wasn’t in the lineup again. Clemente wasn’t a power hitter like Mays or Aaron, but he had won four batting titles, was a perennial All-Star, and even at the age of 37 was hitting well over .300. Roberto lined a sharp double down the left-field line in the fourth inning, and we saw history being made again. He joined Willie and Hank and a handful of others to reach that milestone. I remember thinking at the time how difficult it must be to get all of those hits, and for Willie and Hank to get all those home runs. I’d only reached about 900 hits with more than 2,000 to go if I ever was to hit that mark. That put it into perspective for me, that I really was watching one of the greats of the game. It was a dark day for baseball on the last day of 1972 when Roberto’s plane went down while delivering supplies to Nicaragua. He was only 38. I heard about the plane crash the next day, and it was like losing a brother. It was a great loss for the game of baseball and humanity—especially knowing how his fellow Puerto Ricans felt about him. He was a treasure, and he did it the way nobody else could. Some say he did everything wrong at the plate but he had great results behind it. You wouldn’t teach hitting the way he hit, but it was right for him. What he did was in him like it was in with me. He was a man of stature, and it was his calling. Some people are called to preach, some people are called to teach, and some people are called to serve. He was called to serve, and he served his entire island. I believe everything is predestined, and we just have to act out what’s already on the wall of your life. He’d probably always been aware of the need to do something more for others than for himself. He looked around and saw a need and acted on it. I’m certain he looked at who he was and what he accomplished and how he could take being famous into being a blessing for others. I’ve said this many times before, that those who depend on you are seeking a hand up and not a handout. I didn’t think about it then, but I think about it now, how good the Almighty was to wait to call Roberto home after he got his 3,000th hit—a milestone hit that put him next to the greats of the game.

There was no modern cement until 1870 or so, and no modern concrete until after the turn of the century. Mixing concrete is as delicate a business as making bread. You can get it too watery or not watery enough. You can get the sand-mix too thick or too thin, and the same is true of the gravel-mix. And back in 1934, the science of mixing the stuff was a lot less sophisticated than it is today. The walls of Cellblock 5 were solid enough, but they weren’t exactly dry and toasty. As a matter of fact, they were and are pretty damned dank. After a long wet spell they would sweat and sometimes even drip. Cracks had a way of appearing, some an inch deep. They were routinely mortared over. Now here comes Andy Dufresne into Cellblock 5. He’s a man who graduated from the University of Maine’s school of business, but he’s also a man who took two or three geology courses along the way. Geology had, in fact, become his chief hobby. I imagine it appealed to his patient, meticulous nature. A ten-thousand-year ice age here. A million years of mountain-building there. Plates of bedrock grinding against each other deep under the earth’s skin over the millennia. Pressure. Andy told me once that all of geology is the study of pressure.

was home plate, where Bill Mazeroski completed his electrifying home run while Umpire Bill Jackowski, broad back braced and arms spread, held off the mob long enough for Bill to make it legal. Pittsburgh’s steel mills couldn’t have made more noise than the crowd in this ancient park did when Mazeroski smashed Yankee Ralph Terry’s second pitch of the ninth inning. By the time the ball sailed over the ivy-covered brick wall, the rush from the stands had begun and these sudden madmen threatened to keep Maz from touching the plate with the run that beat the lordly Yankees, 10–9, for the title. Bear in mind that the story was written not at leisure but amid the din and distraction of a crowded press box in the immediate whooping aftermath of the game. Nor could a single thought or neat phrase (like “broad back braced and arms spread”) have been prepared in advance and casually dropped into the text. Since Mazeroski’s home run rudely upended a nation’s confident expectations of a victory by “the lordly Yankees,” every sportswriter present had to discard whatever he’d had in mind to say, even one batter earlier, and start afresh. Search as you will, you won’t find a better World Series game report on file anywhere, unless it was another

You’re the one who didn’t keep his word. And speaking of your word and its dubious worth, don’t change the subject. I saw the looks you and Miss Turner were exchanging. The lady goes bright pink every time you speak to her. For God’s sake, you put food on her plate without even asking.” “And where’s the crime in that?” Gray was genuinely curious to hear the answer. He hadn’t forgotten that shocked look she’d given him. “Come on, Gray. You know very well one doesn’t take such a liberty with a mere acquaintance. It’s…it’s intimate. The two of you are intimate. Don’t deny it.” “I do deny it. It isn’t true.” Gray took another swig from his flask and wiped his mouth with the back of his hand. “Damn it, Joss. Sooner or later, you’re going to have to trust me. I gave you my word. I’ve kept it.” And it was the truth, Gray told himself. Yes, he’d touched her tonight, but he’d never pledged not to touch her. He had kept his word. He hadn’t bedded her. He hadn’t kissed her. God, what he wouldn’t give just to kiss her… He rubbed the heel of his hand against his chest. That same ache lingered there-the same sharp tug he’d felt when she’d brought her foot down on his and pursed her lips into a silent plea. Please, she’d said. Don’t. As if she appealed to his conscience. His conscience. Where would the girl have gathered such a notion, that he possessed a conscience? Certainly not form his treatment of her. A bitter laugh rumbled through his chest, and Joss shot him a skeptical look. “Believe me, I’ve scarcely spoken to the girl in weeks. You can’t know the lengths I’ve gone to, avoiding her. And it isn’t easy, because she won’t stay put in her cabin, now will she? No, she has to go all over the ship, flirting with the crew, tacking her little pictures in every corner of the boat, taking tea in the galley with Gabriel. I can’t help but see her. And I can see she’s too damn thin. She needs to eat; I put food on her plate. There’s nothing more to it than that.” Joss said nothing, just stared at him as though he’d grown a second head. “Damn it, what now? Don’t you believe me?” “I believe what you’re saying,” his brother said slowly. “I just can’t believe what I’m hearing.” Gray folded his arms and leaned against the wall. “And what are you hearing?” “I wondered why you’d done all this…the dinner. Now I know.” “You know what?” Gray was growing exasperated. Most of all, because he didn’t know. “You care for this girl.” Joss cocked his head. “You care for her. Don’t you?” “Care for her.” Joss’s expression was smug. “Don’t you?” The idea was too preposterous to entertain, but Gray perked with inspiration. “Say I did care for her. Would you release me from that promise? If my answer is yes, can I pursue her?” Joss shook his head. “If the answer is yes, you can-and should-wait one more week. It’s not as though she’ll vanish the moment we make harbor. If the answer is yes, you’ll agree she deserves that much.” Wrong, Gray thought, sinking back into a chair.

Cendrillon specialized in seafood, so we had four fish stations: one for poaching, one for roasting, one for sautéing, and one for sauce. I was the chef de partie for the latter two, which also included making our restaurant's signature soups. O'Shea planned his menu seasonally- depending on what was available at the market. It was fall, my favorite time of the year, bursting with all the savory ingredients I craved like a culinary hedonist, the ingredients that turned my light on. All those varieties of beautiful squashes and root vegetables- the explosion of colors, the ochre yellows, lush greens, vivid reds, and a kaleidoscope of oranges- were just a few of the ingredients that fueled my cooking fantasies. In the summer, on those hot cooking days and nights in New York with rivulets of thick sweat coating my forehead, I'd fantasize about what we'd create in the fall, closing my eyes and cooking in my head. Soon, the waitstaff would arrive to taste tonight's specials, which would be followed by our family meal. I eyed the board on the wall and licked my lips. The amuse-bouche consisted of a pan-seared foie gras served with caramelized pears; the entrée, a boar carpaccio with eggplant caviar, apples, and ginger; the two plats principaux, a cognac-flambéed seared sea scallop and shrimp plate served with deep-fried goat cheese and garnished with licorice-perfumed fennel leaves, which fell under my responsibility, and the chief's version of a beef Wellington served with a celeriac mash, baby carrots, and thin French green beans.

Wait until the truffles hit the dining room---absolute sex," said Scott. When the truffles arrived the paintings leaned off the walls toward them. They were the grand trumpets of winter, heralding excess against the poverty of the landscape. The black ones came first and the cooks packed them up in plastic quart containers with Arborio rice to keep them dry. They promised to make us risotto with the infused rice once the truffles were gone. The white ones came later, looking like galactic fungus. They immediately went into the safe in Chef's office. "In a safe? Really?" "The trouble we take is in direct proportion to the trouble they take. They are impossible," Simone said under her breath while Chef went over the specials. "They can't be that impossible if they are on restaurant menus all over town." I caught her eye. "I'm kidding." "You can't cultivate them. The farmers used to take female pigs out into the countryside, lead them to the oaks, and pray. They don't use pigs anymore, they use well-behaved dogs. But they still walk and hope." "What happened to the female pigs?" Simone smiled. "The scent smells like testosterone to them. It drives them wild. They destroyed the land and the truffles because they would get so frenzied." I waited at the service bar for drinks and Sasha came up beside me with a small wooden box. He opened it and there sat the blanched, malignant-looking tuber and a small razor designed specifically for it. The scent infiltrated every corner of the room, heady as opium smoke, drowsing us. Nicky picked up the truffle in his bare hand and delivered it to bar 11. He shaved it from high above the guest's plate. Freshly tilled earth, fields of manure, the forest floor after a rain. I smelled berries, upheaval, mold, sheets sweated through a thousand times. Absolute sex.

Try to picture this: For the next few months, each day, You -being the only person remaining in an immense room (where a beautiful event was held, but you were not invited). And your only duty is to put in order all that room back in place, without guidance and without any assistance. You, completely alone. On your first few days, you let yourself get extremely curious and you admire the splendor and majesty of the immense room. From the paintings adorning the walls to each and every single piece of furniture. In the next few weeks, you start admiring the crystal glasses & plates. You even eat or taste what they left, the guests before you. You sit on each piece of furniture, and pretend to imagine yourself in that event… After a period of time, and repeating this same exact responsibility, you acquire a great facility in collecting and putting this same immense room in order; and consequently, with the remaining time that you have left, you begin to show more interest to what you can see from each window (that room no longer carries the same interest it once had on you). And you look forward to be out from it. I am that huge room that shines and catches the attention of many. And you, you are that person who shares a private life with me, and who knows all my imperfections. Maybe it's often like this, and one gets bored of the room one lives in, even disgusted or weary - so you think you have to leave it behind… Leave it. Hope you had a good time till then. Hope you have good memories and a smile when you think of this time. It was not wasted. It was an enrichment for your life (and of the life of the other one). But not after you tried everything to get along, not after you fought for your "love". If it’s over, it’s over. But if you manage to stay, it will be the best time of your life.

Fortunately—or unfortunately—Mo’s high chair was beside Sarah, who had already angled her stool toward her. There was an expression that I wouldn’t have believed she was capable of yesterday on her face as she watched Mo, like she was a fucking unicorn or something. Which she was. Jonah, though, was on the side I’d planned to sit on next to Peter, with a free stool beside him. I slipped into it and looked around expectantly. What the hell was everyone waiting for? Did they… did the Collins family pray before eating? Because it was a Sunday? Was that why Peter and Grandpa weren’t moving? Jonah had never prayed before a meal. Uh…. “Baby Jesus, thank you for our food. Amen,” Grandpa Gus rushed out all of a sudden out of fucking nowhere, startling the fuck out of Peter and me, who both stared at him like we didn’t know who the hell he was anymore. And…. Did he say baby Jesus? The cough beside me had me glancing at Jonah, who had his lips pressed together and his gaze straight ahead at the wall behind his mom and Mo. Glancing back at Grandpa, his cheeks were pink like he didn’t know why the hell he’d said that and was debating whether or not he regretted it. “Ah, amen,” Sarah managed to get out, sounding pretty damn graceful and not like my gramps had just thanked baby Jesus of all people. “That’s the last time I let you watch Talladega Nights,” I muttered under my breath just loud enough for my grandpa to hear. And apparently Jonah too because he coughed, a lot. “I don’t know what you’re talking about,” Grandpa replied before nudging the plate of pancakes closer to the middle of the island, avoiding eye contact. “Okay, let’s eat unless someone else wants to… pray or make another useless comment that I have no reference for.” I laughed. But it was Jonah beside me who cleared his throat, reached for the spatula, slid two pancakes onto it before transferring them over to my plate first, as he said, very quietly, very calmly, “I do have a question, were you praying to eight-pound, five-ounce baby Jesus or….” I threw my head back and laughed a second before I slid off the stool and onto the floor. It was a long, long time before I managed to start eating.

and Bran was suddenly afraid. Old sour-smelling Yoren looked up at Robb, unimpressed. “Whatever you say, m’lord,” he said. He sucked at a piece of meat between his teeth. The youngest of the black brothers shifted uncomfortably in his seat. “There’s not a man on the Wall knows the haunted forest better than Benjen Stark. He’ll find his way back.” “Well,” said Yoren, “maybe he will and maybe he won’t. Good men have gone into those woods before, and never come out.” All Bran could think of was Old Nan’s story of the Others and the last hero, hounded through the white woods by dead men and spiders big as hounds. He was afraid for a moment, until he remembered how that story ended. “The children will help him,” he blurted, “the children of the forest!” Theon Greyjoy sniggered, and Maester Luwin said, “Bran, the children of the forest have been dead and gone for thousands of years. All that is left of them are the faces in the trees.” “Down here, might be that’s true, Maester,” Yoren said, “but up past the Wall, who’s to say? Up there, a man can’t always tell what’s alive and what’s dead.” That night, after the plates had been cleared, Robb carried Bran up to bed himself. Grey Wind led the way, and Summer came close behind. His brother was strong for his age, and Bran was as light as a bundle of rags, but the stairs were steep and dark, and Robb was breathing hard by the time they reached the top. He put Bran into bed, covered him with blankets, and blew out the candle. For a time Robb sat beside him in the dark. Bran wanted to talk to him, but he did not know what to say. “We’ll find a horse for you, I promise,” Robb whispered at last. “Are they ever coming back?” Bran asked him. “Yes,” Robb said with such hope in his voice that Bran knew he was hearing his brother and not just Robb the Lord. “Mother will be home soon. Maybe we can ride out to meet her when she comes. Wouldn’t that surprise her, to see you ahorse?” Even in the dark room, Bran could feel his brother’s smile. “And afterward, we’ll ride north to see the Wall. We won’t even tell Jon we’re coming, we’ll just be there one day, you and me. It will be an adventure.” “An adventure,” Bran repeated wistfully. He heard his brother sob. The room was so dark he could not see the tears on Robb’s face, so he reached out and found his hand. Their fingers twined together. EDDARD “Lord Arryn’s death was a great sadness for all of us, my lord,” Grand Maester Pycelle said.

In the meantime, I tried my best to acclimate to my new life in the middle of nowhere. I had to get used to the fact that I lived twenty miles from the nearest grocery store. That I couldn’t just run next door when I ran out of eggs. That there was no such thing as sushi. Not that it would matter, anyway. No cowboy on the ranch would touch it. That’s bait, they’d say, laughing at any city person who would convince themselves that such a food was tasty. And the trash truck: there wasn’t one. In this strange new land, there was no infrastructure for dealing with trash. There were cows in my yard, and they pooped everywhere--on the porch, in the yard, even on my car if they happened to be walking near it when they dropped a load. There wasn’t a yard crew to clean it up. I wanted to hire people, but there were no people. The reality of my situation grew more crystal clear every day. One morning, after I choked down a bowl of cereal, I looked outside the window and saw a mountain lion siting on the hood of my car, licking his paws--likely, I imagined, after tearing a neighboring rancher’s wife from limb to limb and eating her for breakfast. I darted to the phone and called Marlboro Man, telling him there was a mountain lion sitting on my car. My heart beat inside my chest. I had no idea mountain lions were indigenous to the area. “It’s probably just a bobcat,” Marlboro Man reassured me. I didn’t believe him. “No way--it’s huge,” I cried. “It’s seriously got to be a mountain lion!” “I’ve gotta go,” he said. Cows mooed in the background. I hung up the phone, incredulous at Marlboro Man’s lack of concern, and banged on the window with the palm of my hand, hoping to scare the wild cat away. But it only looked up and stared at me through the window, imagining me on a plate with a side of pureed trout. My courtship with Marlboro Man, filled with fizzy romance, hadn’t prepared me for any of this; not the mice I heard scratching in the wall next to my bed, not the flat tires I got from driving my car up and down the jagged gravel roads. Before I got married, I didn’t know how to use a jack or a crowbar…and I didn’t want to have to learn now. I didn’t want to know that the smell in the laundry room was a dead rodent. I’d never smelled a dead rodent in my life: why, when I was supposed to be a young, euphoric newlywed, was I being forced to smell one now? During the day, I was cranky. At night, I was a mess. I hadn’t slept through the night once since we returned from our honeymoon. Besides the nausea, whose second evil wave typically hit right at bedtime, I was downright spooked. As I lay next to Marlboro Man, who slept like a baby every night, I thought of monsters and serial killers: Freddy Krueger and Michael Myers, Ted Bundy and Charles Manson. In the utter silence of the country, every tiny sound was amplified; I was certain if I let myself go to sleep, the murderer outside our window would get me.

Suddenly he felt his foot catch on something and he stumbled over one of the trailing cables that lay across the laboratory floor. The cable went tight and pulled one of the instruments monitoring the beam over, sending it falling sideways and knocking the edge of the frame that held the refractive shielding plate in position. For what seemed like a very long time the stand wobbled back and forth before it tipped slowly backwards with a crash. ‘Take cover!’ Professor Pike screamed, diving behind one of the nearby workbenches as the other Alpha students scattered, trying to shield themselves behind the most solid objects they could find. The beam punched straight through the laboratory wall in a cloud of vapour and alarm klaxons started wailing all over the school. Professor Pike scrambled across the floor towards the bundle of thick power cables that led to the super-laser, pulling them from the back of the machine and extinguishing the bright green beam. ‘Oops,’ Franz said as the emergency lighting kicked in and the rest of the Alphas slowly emerged from their hiding places. At the back of the room there was a perfectly circular, twenty-centimetre hole in the wall surrounded by scorch marks. ‘I am thinking that this is not being good.’ Otto walked cautiously up to the smouldering hole, glancing nervously over his shoulder at the beam emitter that was making a gentle clicking sound as it cooled down. ‘Woah,’ he said as he peered into the hole. Clearly visible were a series of further holes beyond that got smaller and smaller with perspective. Dimly visible at the far end was what could only be a small circle of bright daylight. ‘Erm, I don’t know how to tell you this, Franz,’ Otto said, turning towards his friend with a broad grin on his face, ‘but it looks like you just made a hole in the school.’ ‘Oh dear,’ Professor Pike said, coming up beside Otto and also peering into the hole. ‘I do hope that we haven’t damaged anything important.’ ‘Or anyone important,’ Shelby added as she and the rest of the Alphas gathered round. ‘It is not being my fault,’ Franz moaned. ‘I am tripping over the cable.’ A couple of minutes later, the door at the far end of the lab hissed open and Chief Dekker came running into the room, flanked by two guards in their familiar orange jumpsuits. Otto and the others winced as they saw her. It was well known already that she had no particular love for H.I.V.E.’s Alpha stream and she seemed to have a special dislike for their year in particular. ‘What happened?’ she demanded as she strode across the room towards the Professor. Her thin, tight lips and sharp cheekbones gave the impression that she was someone who’d heard of this thing called smiling but had decided that it was not for her. ‘There was a slight . . . erm . . . malfunction,’ the Professor replied with a fleeting glance in Franz’s direction. ‘Has anyone been injured?’ ‘It doesn’t look like it,’ Dekker replied tersely, ‘but I think it’s safe to say that Colonel Francisco won’t be using that particular toilet cubicle again.’ Franz visibly paled at the thought of the Colonel finding out that he had been in any way responsible for whatever indignity he had just suffered. He had a sudden horribly clear vision of many laps of the school gym somewhere in his not too distant future.

I am speaking of the evenings when the sun sets early, of the fathers under the streetlamps in the back streets returning home carrying plastic bags. Of the old Bosphorus ferries moored to deserted stations in the middle of winter, where sleepy sailors scrub the decks, pail in hand and one eye on the black-and-white television in the distance; of the old booksellers who lurch from one ϧnancial crisis to the next and then wait shivering all day for a customer to appear; of the barbers who complain that men don’t shave as much after an economic crisis; of the children who play ball between the cars on cobblestoned streets; of the covered women who stand at remote bus stops clutching plastic shopping bags and speak to no one as they wait for the bus that never arrives; of the empty boathouses of the old Bosphorus villas; of the teahouses packed to the rafters with unemployed men; of the patient pimps striding up and down the city’s greatest square on summer evenings in search of one last drunken tourist; of the broken seesaws in empty parks; of ship horns booming through the fog; of the wooden buildings whose every board creaked even when they were pashas’ mansions, all the more now that they have become municipal headquarters; of the women peeking through their curtains as they wait for husbands who never manage to come home in the evening; of the old men selling thin religious treatises, prayer beads, and pilgrimage oils in the courtyards of mosques; of the tens of thousands of identical apartment house entrances, their facades discolored by dirt, rust, soot, and dust; of the crowds rushing to catch ferries on winter evenings; of the city walls, ruins since the end of the Byzantine Empire; of the markets that empty in the evenings; of the dervish lodges, the tekkes, that have crumbled; of the seagulls perched on rusty barges caked with moss and mussels, unϩinching under the pelting rain; of the tiny ribbons of smoke rising from the single chimney of a hundred-yearold mansion on the coldest day of the year; of the crowds of men ϧshing from the sides of the Galata Bridge; of the cold reading rooms of libraries; of the street photographers; of the smell of exhaled breath in the movie theaters, once glittering aϱairs with gilded ceilings, now porn cinemas frequented by shamefaced men; of the avenues where you never see a woman alone after sunset; of the crowds gathering around the doors of the state-controlled brothels on one of those hot blustery days when the wind is coming from the south; of the young girls who queue at the doors of establishments selling cut-rate meat; of the holy messages spelled out in lights between the minarets of mosques on holidays that are missing letters where the bulbs have burned out; of the walls covered with frayed and blackened posters; of the tired old dolmuşes, ϧfties Chevrolets that would be museum pieces in any western city but serve here as shared taxis, huϫng and puϫng up the city’s narrow alleys and dirty thoroughfares; of the buses packed with passengers; of the mosques whose lead plates and rain gutters are forever being stolen; of the city cemeteries, which seem like gateways to a second world, and of their cypress trees; of the dim lights that you see of an evening on the boats crossing from Kadıköy to Karaköy; of the little children in the streets who try to sell the same packet of tissues to every passerby; of the clock towers no one ever notices; of the history books in which children read about the victories of the Ottoman Empire and of the beatings these same children receive at home; of the days when everyone has to stay home so the electoral roll can be compiled or the census can be taken; of the days when a sudden curfew is announced to facilitate the search for terrorists and everyone sits at home fearfully awaiting “the oϫcials”; CONTINUED IN SECOND PART OF THE QUOTE

He puffed some more and was about to deal the first hand when he stopped and looked at Mrs. Zimmermann with a mischievous smile. "Oh, by the way," he said, "you might bring Lewis a glass of iced tea, and get me a refill. No sugar. And bring out another plate of chocolate-chip cookies." Mrs. Zimmermann stood up and clasped her hands subserviently in front of her. "How would you like your cookies, sir? Stuffed down your throat one by one, or crumbled up and sifted into your shirt collar?

Every Wednesday Angela Belle came to town. And every Wednesday Dr. Montgomery "accidentally" ran into her. That Doc sat by the diner window for thirty minutes picking at a piece of pie until she rounded the corner did not go unnoticed. "Never seen a man so whupped," the Sheriff said, rolling a toothpick from one side of his mouth to the other. "Got him by the short hairs," Willie concurred. Naturally, every man in town thought Doc was getting some. Naturally, every woman in town knew better. "A dog don't dance for a bone he's already chewed," Dot said, sliding Ben Harrington's plate lunch in front of him. "Depends on the bone," the Sheriff said, as they watched Doc run across the street to catch up with Angela. "Depends on the dog," Dot countered, giving Willie a look that made his face burn.

Leave me alone,” Win cried. “Go dust something!” “Win, if you don’t—” Amelia’s attention was diverted as she saw her sister’s gaze fly to the kitchen threshold. Merripen stood there, his broad shoulders filling the doorway. Although it was early morning, he was already dusty and perspiring, his shirt clinging to the powerful contours of his chest and waist. He wore an expression they knew well—the implacable one that meant you could move a mountain with a teaspoon sooner than change his mind about something. Approaching Win, he extended a broad hand in a wordless demand. They were both motionless. But even in their stubborn opposition, Amelia saw a singular connection, as if they were locked in an eternal stalemate from which neither wanted to break free. Win gave in with a helpless scowl. “I have nothing to do.” It was rare for her to sound so peevish. “I’m sick of sitting and reading and staring out the window. I want to be useful. I want…” Her voice trailed away as she saw Merripen’s stern face. “Fine, then. Take it!” She tossed the broom at him, and he caught it reflexively. “I’ll just find a corner somewhere and quietly go mad. I’ll—” “Come with me,” Merripen interrupted calmly. Setting the broom aside, he left the room. Win exchanged a perplexed glance with Amelia, her vehemence fading. “What is he doing?” “I have no idea.” The sisters followed him down a hallway to the dining room, which was spattered with rectangles of light from the tall multipaned windows that lined one wall. A scarred table ran down the center of the room, every available inch covered with dusty piles of china … towers of cups and saucers, plates of assorted sizes sandwiched together, bowls wrapped in tattered scraps of gray linen. There were at least three different patterns all jumbled together. “It needs to be sorted,” Merripen said, gently nudging Win toward the table. “Many pieces are chipped. They must be separated from the rest.” It was the perfect task for Win, enough to keep her busy but not so strenuous that it would exhaust her. Filled with gratitude, Amelia watched as her sister picked up a teacup and held it upside down. The husk of a tiny dead spider dropped to the floor. “What a mess,” Win said, beaming. “I’ll have to wash it, too, I suppose.” “If you’d like Poppy to help—” Amelia began. “Don’t you dare send for Poppy,” Win said. “This is my project, and I won’t share it.

At least, Hillary thought they were her people until she took their money and lost to Trump. I’ll never forget sitting in the Upper East Side home of one of Hillary’s most loyal Friends and Family shortly after the November election. “Look around,” this Friend said. I turned my head to scan the panoramic views of Manhattan, the winding marble staircase, the original Monet on the walls, the untouched crystal plate of macaroons on the table. “I’m not a loser. Hillary is a L-O-S-E-R,” the Friend said, making an L with one hand and holding it against the forehead.

This curve, which looks like an elongated S, is variously known as the logistic, sigmoid, or S curve. Peruse it closely, because it’s the most important curve in the world. At first the output increases slowly with the input, so slowly it seems constant. Then it starts to change faster, then very fast, then slower and slower until it becomes almost constant again. The transfer curve of a transistor, which relates its input and output voltages, is also an S curve. So both computers and the brain are filled with S curves. But it doesn’t end there. The S curve is the shape of phase transitions of all kinds: the probability of an electron flipping its spin as a function of the applied field, the magnetization of iron, the writing of a bit of memory to a hard disk, an ion channel opening in a cell, ice melting, water evaporating, the inflationary expansion of the early universe, punctuated equilibria in evolution, paradigm shifts in science, the spread of new technologies, white flight from multiethnic neighborhoods, rumors, epidemics, revolutions, the fall of empires, and much more. The Tipping Point could equally well (if less appealingly) be entitled The S Curve. An earthquake is a phase transition in the relative position of two adjacent tectonic plates. A bump in the night is just the sound of the microscopic tectonic plates in your house’s walls shifting, so don’t be scared. Joseph Schumpeter said that the economy evolves by cracks and leaps: S curves are the shape of creative destruction. The effect of financial gains and losses on your happiness follows an S curve, so don’t sweat the big stuff. The probability that a random logical formula is satisfiable—the quintessential NP-complete problem—undergoes a phase transition from almost 1 to almost 0 as the formula’s length increases. Statistical physicists spend their lives studying phase transitions.

Finally, every society develops a system of aesthetic standards that get manifested in everything from decorative art, music, and dance to the architecture and planning of buildings and communities. There are many different ways we could examine artistic systems. One way of thinking about it is to observe the degree to which a society's aesthetics reflect clear lines and solid boundaries versus fluid ones. Many Western cultures favor clean, tight boundaries whereas many Eastern cultures prefer more fluid, indiscriminate lines. In most Western homes, kitchen drawers are organized so that forks are with forks and knives are with knives. The walls of a room are usually uniform in color, and when a creative shift in color does occur, it usually happens at a corner or along a straight line midway down the wall. Pictures are framed with straight edges, molding covers up seams in the wall, and lawns are edged to form a clear line between the sidewalk and the lawn. Why? Because we view life in terms of classifications, categories, and taxonomies. And cleanliness itself is largely defined by the degree of order that exists. It has little to do with sanitation and far more to do with whether things appear to be in their proper place. Maintaining boundaries is essential in the Western world; otherwise categories begin to disintegrate and chaos sets in.13 Most Americans want dandelion-free lawns and roads with clear lanes prescribing where to drive and where not to drive. Men wear ties to cover the adjoining fabric on the shirts that they put on before going to the symphony, where they listen to classical music based on a scale with seven notes and five half steps. Each note has a fixed pitch, defined in terms of the lengths of the sound waves it produces.14 A good performance occurs when the musicians hit the notes precisely. In contrast, many Eastern cultures have little concern in everyday life for sharp boundaries and uniform categories. Different colors of paint may be used at various places on the same wall. And the paint may well “spill” over onto the window glass and ceiling. Meals are a fascinating array of ingredients where food is best enjoyed when mixed together on your plate. Roads and driving patterns are flexible. The lanes ebb and flow as needed depending on the volume of traffic. In a place like Cambodia or Nigeria, the road space is available for whichever direction a vehicle needs it most, whatever the time of day. And people often meander along the road in their vehicles the same way they walk along a path. There are many other ways aesthetics between one place and another could be contrasted. But the important point is some basic understanding of how cultures differ within the realm of aesthetics. Soak in the local art of a place and chalk it up to informing your strategy for international business.

The walls were painted a robin's-egg blue. Antique wood-and-glass display cases had mottled milk chocolate-brown marble countertops. Antique iron-and-glass stands would make the future little cakes (under their glass domes) pop up and down on the counter like jaunty hats. From the top of the left wall of the bakery, Gavin had hung a canvas curtain and arranged a display area in front of it. Both the curtain and display would change each month- as would, of course, the colors and flavors we showcased. The idea was to sell not only cakes, but also cake stands, serving pieces, plates, paper napkins, and other goodies, so once your little cakes got home, they'd look as good as they did in my bakery. One-stop shopping. On the right, Gavin had arranged a seating area with dark bentwood chairs and cafe tables. It looked like a tea salon in Paris. I sighed with delight. But I wanted to see where I would spend most of my time. The work and storage areas were screened off in the back, although I would have been happy to show off my two Vulcan convection-ovens-on-wheels and the big stainless steel worktable with the cool marble slab at one end for chocolate work. The calm milk-chocolate plaster walls, stainless steel, and white marble made the workspace look like a shrine to the cake baker's art.

valley? That should be interesting for you.” “I haven’t decided what I’m doing yet.” “I’d be happy to help,” Mr. Bally said. “I’m an expert on the subject you’re studying.” He picked up one of the microfilm boxes. “Judges in these contests like primary sources.” I knew that. Judges in these contests always liked primary sources. I was already using one. “Tell me about Andover,” I’d said to Cissy Langer, sitting in her back room with a wall full of piggy dolls staring at me. “Oh, my goodness, Mimi, what a question,” she’d said. I took the glass of iced tea, and I took the plate of chocolate chip cookies, and I set my tape recorder between them. I’d borrowed it from the school librarian. “I’ve already got some primary sources,” I said to Winston Bally in the conference room. We all pick and choose the things we talk about, I guess. I’d listened to my mother and Cissy talk about growing up together for maybe hundreds of hours, about sharing a seat and red licorice ropes on the bus, about getting licked for wearing their Sunday dresses into the woods one day, about the years when they both moved back in with their parents while their husbands went to war. And somehow I’d never really noticed that all the stories started when they were ten, that there were no stories about the four-year-old Miriam, the six-year-old Cissy, about the day when they were both seven when Ruth came home from the hospital, a bundle of yellow crochet yarn and dirty diaper. It made sense, I guess, since it turned out Cissy had grown up in a place whose name I’d never even heard because it had been wiped off the map before I’d ever even been born. “My whole family lived in Andover,” Cissy said. “My mother and

Dude, you missed it!” Zeke is wide-eyed, concerned. “The only jobs left by the end were the gross jobs, like scrubbing toilets! Where were you?” “It’s fine,” I say as I carry my tray back to our table near the doors. Shauna is there with her little sister, Lynn, and Lynn’s friend Marlene. When I first saw them there, I wanted to turn around and leave immediately--Marlene is too cheerful for me even on a good day--but Zeke had already seen him, so it was too late. Behind us, Uriah jobs to catch up, his plate loaded with more food than he can possibly pack into his stomach. “I didn’t miss anything--Max came to see me earlier.” As we take our seats at the table, under one of the bright-blue lamps that hang from the wall, I tell him about Max’s offer, careful not to make it sound too impressive. I only just found friends; I don’t want to create jealous tension between us for no reason. When I finish, Shauna leans her face into one of her hands and says to Zeke, “I guess we should have tried harder during initiation, huh?” “Or killed him before he could take his final test.” “Or both.

I noticed, before we left, a metal plate attached to the fence around the tower. On it was a Federal Communications Commission license number: 1215095. The number, along with an Internet connection, was enough to lead an inquisitive person to the story behind the tower. The application to use the tower to send a microwave signal had been filed in July 2012, and it had been filed by . . . well, it isn’t possible to keep any of this secret anymore. A day’s journey in cyberspace would lead anyone who wished to know it into another incredible but true Wall Street story, of hypocrisy and secrecy and the endless quest by human beings to gain a certain edge in an uncertain world. All that one needed to discover the truth about the tower was the desire to know it.