Watches With Engraved Quotes

Last night I wept in a way I haven’t wept for some time. I wept until I aged myself. I watched it happen in the mirror. I watched the lines arrive around my eyes like engraved sunbursts; it was like watching flowers open in time-lapse on a windowsill. The tears not only aged my face, they also changed its texture, turned the skin of my cheeks into putty. I recognized this as a rite of decadence, but I did not know how to stop it.

Her books on alchemy were marvellous objects, every page a work of the engraver's art, but they nowhere contained instructions like "Be sure to open a window". They did have instructions like "Adde Aqua Quirmis to the Zinc untile Rising Gas Yse Vigorousky Evolved", but never added "Don't Doe Thys Atte Home" or even "And Say Fare-Thee-Welle to Thy Eyebrows.

Children soak up both verbal and nonverbal messages like sponges—indiscriminately. They listen to their parents, they watch their parents, and they imitate their parents’ behavior. Because they have little frame of reference outside the family, the things they learn at home about themselves and others become universal truths engraved deeply in their minds.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

It was a silver watch with a matching chain and fob, and on the back was an engraving of Samaranth. 'Is it a time machine?' Jack asked. 'Will it let us travel through time?' 'I believe it will,' Ordo Maas replied. 'I've found that for every minute I watch it, I move a full minute farther into the future.

he drew out of his pocket an old-fashioned flat silver watch, on the back of which was engraved a globe; the chain was of steel.

Neil said nothing. Andrew hooked his fingers in the collar of Neil's shirt and tugged just enough for Neil to feel it. "I know what I'm doing. I knew what I was agreeing to when I took Kevin's side. I knew what it could cost us and how far I'd have to go. Understand? You aren't going anywhere. You're staying here." Andrew didn't let go until Neil nodded, and then he reached for Neil's hand. He took his cigarette back, put it between his lips, and pressed a warm key into Neil's empty palm. Neil lifted his hand to look at it. The hardware logo engraved in it meant it was a copy. To what, Neil didn't know, but it only took him a moment to figure it out. Andrew used this key to unlock the front door and then took it off the ring on the porch. Now he was giving it to Neil. "Get some sleep," Andrew said. "We're going home tomorrow. We'll figure this out then." Andrew went around Neil to the front door. He had no sympathy or comfort for his family as they grieved Seth's unexpected death, but he would keep watch on them from the doorway until they were okay again. It was harder than it should have been for Neil to look away from him, but he finally set off down the hall.

The glint does not come from a living being, but from an antique pocket watch - eighteen-carat gold encased with mother of pearl, engraved with the lines from a poem: "Arriving there is what you are destined for, But do not hurry the journey at all..." And there on the back are two letters, or more precisely, the same letter written twice: Y & Y

She lit a new cigarette off the butt of an old one, just like you’d see any ordinary B-girl do in any ordinary juke joint on any ordinary night of the week, except, when Jessica did it, she made it seem extraordinary, as exotic and exciting as watching a jeweler cutting diamonds or a gunsmith engraving steel. She wrapped her lips seductively around the filter tip and sucked rhythmically, making her cigarette darken and glow, darken and glow in a pattern that spelled out temptation in her seductive private code.

Every decision felt like it was to be engraved on a plaque to be placed under a statue commemorating my shittiness, a long list of bad traits under an emboldened title: WE KNOW WHAT YOU’RE THINKING AND YES THIS GIRL SUCKS. I spent years of my life thinking this way and was just in this moment starting to realize how self-important that was. Nobody was watching me, waiting to see what I did. There weren’t any answers to steal. I didn’t have to be good or bad or an artist or a genius and I didn’t have to decide anything right now. All I had to do right now was make the terrible art I said I was going to make. Integrity was something I could offer the world, even if I had nothing else. Even if I didn’t know who I wanted to be. I should just do it so it could be done.

Arin had bathed. He was wearing house clothes, and when Kestrel saw him standing in the doorway his shoulders were relaxed. Without being invited, he strode into the room, pulled out the other chair at the small table where Kestrel waited, and sat. He arranged his arms in a position of negligent ease and leaned into the brocaded chair as if he owned it. He seemed, Kestrel thought, at home. But then, he had also seemed so in the forge. Kestrel looked away from him, stacking the Bite and Sting tiles on the table. It occurred to her that it was a talent for Arin to be comfortable in such different environments. She wondered how she would fare in his world. He said, “This is not a sitting room.” “Oh?” Kestrel mixed the tiles. “And here I thought we were sitting.” His mouth curved slightly. “This is a writing room. Or, rather”--he pulled his six tiles--“it was.” Kestrel drew her Bite and Sting hand. She decided to show no sign of curiosity. She would not allow herself to be distracted. She arranged her tiles facedown. “Wait,” he said. “What are the stakes?” She had given this careful consideration. She took a small wooden box from her skirt pocket and set it on the table. Arin picked up the box and shook it, listening to the thin, sliding rattle of its contents. “Matches.” He tossed the box back onto the table. “Hardly high stakes.” But what were appropriate stakes for a slave who had nothing to gamble? This question had troubled Kestrel ever since she had proposed the game. She shrugged and said, “Perhaps I am afraid to lose.” She split the matches between them. “Hmm,” he said, and they each put in their ante. Arin positioned his tiles so that he could see their engravings without revealing them to Kestrel. His eyes flicked to them briefly, then lifted to examine the luxury of his surroundings. This annoyed her--both because she could glean nothing from his expression and because he was acting the gentleman by averting his gaze, offering her a moment to study her tiles without fear of giving away something to him. As if she needed such an advantage. “How do you know?” she said. “How do I know what?” “That this was a writing room. I have never heard of such a thing.” She began to position her own tiles. It was only when she saw their designs that she wondered whether Arin had really been polite in looking away, or if he had been deliberately provoking her. She concentrated on her draw, relieved to see that she had a good set. A tiger (the highest tile); a wolf, a mouse, a fox (not a bad trio, except the mouse); and a pair of scorpions. She liked the Sting tiles. They were often underestimated. Kestrel realized that Arin had been waiting to answer her question. He was watching her. “I know,” he said, “because of this room’s position in your suite, the cream color of the walls, and the paintings of swans. This was where a Herrani lady would pen her letters or write journal entries. It’s a private room. I shouldn’t be allowed inside.” “Well,” said Kestrel, uncomfortable, “it is no longer what it was.

Half-way there, a touch of his normal common sense returned to him and he slowed down, wondering what exchange of courtesies he was going to offer a vagabond, an Abram man, or an idiot. Then the man turned his head and Richard saw that he was none of these things. That the frieze cloak he wore was rich, and fell back from the silk of a high-collared tunic; that his hair, flicked by the wind, was yellow as mustard and the shadowless face, faintly engraved upon and tired as cered linen, was indeed that of Francis his brother. Lymond did not move. His head lifted, watching, showed no conventional welcome; his brows, cloudily drawn, suggested the weight of something so firmly extinguished that nothing was left, in thought or expression, save a curious air, part of resignation, part of defiance which had to do, perhaps, with his stillness. Only the edge of his cloak stirred tardily, with his inaudible breathing. His parted lips closing, Richard Crawford came to a halt and stood, looking down at his brother. ‘There is not a soul but over it is a keeper,’ Lymond said. ‘Welcome, brother.’

Caxtons are mechanical birds with many wings and some are treasured for their markings-- they cause the eyes to melt or the body to shriek without pain. I have never seen one fly, but sometimes they perch on the hand. Mist is when the sky is tired of flight and rests its soft machine on the ground: then the world is dim and bookish like engravings under tissue paper. Rain is when the earth is television. It has the properites of making colours darker. Model T is a room with the lock inside -- a key is turned to free the world for movement, so quick there is a film to watch for anything missed. But time is tied to the wrist or kept in a box, ticking with impatience. In homes, a haunted apparatus sleeps, that snores when you pick it up. If the ghost cries, they carry it to their lips and soothe it to sleep with sounds. And yet, they wake it up deliberately, by tickling with a finger. Only the young are allowed to suffer openly. Adults go to a punishment room with water but nothing to eat. They lock the door and suffer the noises alone. No one is exempt and everyone's pain has a different smell. At night, when all the colours die, they hide in pairs and read about themselves -- in colour, with their eyelids shut.

Her eyes were closed so tightly that you could see her long-curled eyelashes pointed skyward, in her baby blue coffin. She was an angel to look at even at that moment. I knew that she was looking over all of us! In addition to that, she was most likely looking at him and holding his hands with her spiritual touch, I could just feel it. He said that he felt the breeze of her presents. He was crying hysterically from his hazel almost jade green eyes! I remember he said that he was secretly in love with Jaylynn back to when she was a little girl. That he never got the chance to say that to her in person. I remember him placing one pink daisy in her box on top of her small, yet perky upward-facing breasts next to her motionless heart; with the bloom under her chin and her slight smile. Along with that, then he slid an engraved promise ring on her finger as well; at that moment… one of his teardrops fell from his eyes on her petite hand, as he was holding it… not wanting to ever let go of her. That is love… if I ever did see it. Greg also whispered to me, that he never even got to kiss her as he always hoped to do, and that she was everything that he was looking for in a girl. Furthermore, he would never look for anyone else. That she was the one, and the only! The only thing I could say was; I thank you and follow your heart, and she will be watching over you. Then he walked away… I never saw him again after that. You know I don't even know his last name. Still, I will always remember his face, and the look that was upon it that day, he was devastated. So, someone did care about her, someone truly loved her, and adored her, and it was taken away from him too. Why! Why oh God, why? Why didn’t she see this when she was alive? ‘Why is a question that has no answers, only just more unanswered questions?

Open it.” Obeying, she lifted the lid. The box was lined with red velvet. Pulling aside a protective layer of cloth, she uncovered a tiny gold pocket watch on a long chain, the casing delicately engraved with flowers and leaves. A glass window on the hinged front cover revealed a white enamel dial and black hour and minute markers. “It belonged to my mother,” she heard Devon say. “It’s the only possession of hers that I have. She never carried it.” Irony edged his voice. “Time was never important to her.” Kathleen glanced at him in despair. She parted her lips to speak, but his fingertips came to her mouth with gentle pressure. “Time is what I’m giving you,” he said, staring down at her. His hand curved beneath her chin, compelling her to look at him. “There’s only one way for me to prove that I will love you and be faithful to you for the rest of my life. And that’s by loving you and being faithful to you for the rest of my life. Even if you don’t want me. Even if you choose not to be with me. I’m giving you all the time I have left. I vow to you that from this moment on, I will never touch another woman, or give my heart to anyone but you. If I have to wait sixty years, not a minute will have been wasted--because I’ll have spent all of them loving you.” Kathleen regarded him with wonder, a perilous warmth rising until it pushed fresh tears from her eyes. Cradling her face in both hands, Devon bent to kiss her in a brush of soft fire. “That being said,” he whispered, “I hope you’ll consider marrying me sooner rather than later.” Another kiss, slow and devastating. “Because I long for you, Kathleen, my dearest love. I want to sleep with you every night, and wake with you every morning.” His mouth caressed her with deepening pressure until her arms curled around his neck. “And I want children with you. Soon.” The truth was there, in his voice, his eyes, on his lips. She could taste it.

There was only one thing in the room that was different. For a moment or so he couldn't see what the one thing that was different was, because it too was covered in a film of disgusting dust. Then his eyes caught it and stopped. It was next to a battered old television on which it was only possible to watch Open University Study Courses, because if it tried to show anything more exciting it would break down. It was a box. Arthur pushed himself up on his elbows and peered at it. It was a grey box, with a kind of dull lustre to it. It was a cubic grey box, just over a foot on a side. It was tied with a single grey ribbon, knotted into a neat bow on the top. He got up, walked over and touched it in surprise. Whatever it was was clearly gift-wrapped, neatly and beautifully, and was waiting for him to open it. Cautiously, he picked it up and carried it back to the bed. He brushed the dust off the top and loosened the ribbon. The top of the box was a lid, with a flap tucked into the body of the box. He untucked it and looked into the box. In it was a glass globe, nestling in fine grey tissue paper. He drew it out, carefully. It wasn't a proper globe because it was open at the bottom, or, as Arthur realized turning it over, at the top, with a thick rim. It was a bowl. A fish bowl. It was made of the most wonderful glass perfectly transparent, yet with an extraordinary silver-grey quality as if crystal and slate had gone into its making. Arthur slowly turned it over and over in his hands. It was one of the most beautiful objects he had ever seen, but he was entirely perplexed by it. He looked into the box, but other than the tissue paper there was nothing. On the outside of the box there was nothing. He turned the bowl round again. It was wonderful. It was exquisite. But it was a fish bowl. He tapped it with his thumbnail and it rang with a deep and glorious chime which was sustained for longer than seemed possible, and when at last it faded seemed not to die away but to drift off into other worlds, as into a deep sea dream. Entranced, Arthur turned it round yet again, and this time the light from the dusty little bedside lamp caught it at a different angle and glittered on some fine abrasions on the fish bowl's surface. He held it up, adjusting the angle to the light, and suddenly saw clearly the finely engraved shapes of words shadowed on the glass. "So Long," they said, "and Thanks ..." And that was all. He blinked, and understood nothing. For fully five more minutes he turned the object round and around, held it to the light at different angles, tapped it for its mesmerizing chime and pondered on the meaning of the shadowy letters but could find none. Finally he stood up, filled the bowl with water from the tap and put it back on the table next to the television. He shook the little Babel fish from his ear and dropped it, wriggling, into the bowl. He wouldn't be needing it any more, except for watching foreign movies

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

The English language once had a word for the characteristic impression that a plant or animal offers to the eye. We called it the “jizz,” and the adoption of that term as sexual slang is unfortunate, as it seems unlikely we’ll come up with a replacement. It is the jizz, for example, that allows a skilled birdwatcher to know a bird by its silhouette alone , or by some quality of movement or the way it holds its head. The strangely unsteady flight of the turkey vulture, the flat forehead of the Barrow’s goldeneye, the endless headlong running of sanderlings on a mudflat— each of these is the jizz. It is so pure an essence that, if captured in a few rough lines drawn with charcoal, it can express an animal more authentically than a portrait by a trained artist who has never carefully watched the creatures he paints. It’s the jizz that ancient art so often represents. While looking at Egyptian treasures in a museum, I felt a rush of nostalgia when an engraving of a scarab beetle reminded me that I used to see a related species, the tumblebug, or Canthon simplex, roll balls of dung across my home prairie. I had completely forgotten; it took a 3,500-year-old artifact from another continent to make me remember.

Many hotbeds use an approach I call the engraving method. Basically, they watch the skill being performed, closely and with great intensity, over and over, until they build a high-definition mental blueprint.

a celebration of the president’s bravery during the campaign, rendered in shiny black and white, like a giant Victorian steel engraving executed by OCD fairies. The president stood smiling, her arms outstretched to America. Her opponent loomed behind her, as he once actually had, Verity herself having watched this debate live. Seeing this now, she recalled her own sickened disbelief at his body language, the shadowing, his deliberate violation of his opponent’s personal space. “I don’t think anyone I know believes there was ever any real chance of him winning,” she said to Eunice. “I don’t know whether I did myself, but I was still scared shitless of it.” She was looking at how the artist had rendered his hands. Grabby.

Max had once read in one of his father's books that some childhood images become engraved in the mind like photographs, like scenes you can return to again and again and will always remember, no matter how much time goes by. He understood the meaning of those words the first time he saw the sea. The family had been traveling on the train for over three hours when, all of a sudden, they emerged from a dark tunnel and Max found himself gazing at an endless expanse of ethereal light, the electric blue of the sea shimmering beneath the midday sun, imprinting itself on his retina like a supernatural apparition. The ashen light that perpetually drowned the old city already seemed like a distant memory. He felt as if he had spent his entire life looking at the world through a black-and-white lens and suddenly it had sprung into life in full, luminous color he could almost touch. As the train continued its journey only a few meters from the shore, Max leaned out the window and, for the first time ever, felt the touch of salty wind on his skin. He turned to look at his father, who was watching him from the other end of the compartment with his mysterious smile, nodding in reply to a question Max hadn't even asked. At that moment, Max promised himself that whatever their destination, whatever the name of the station this train was taking them to, from that day on he would never live anywhere where he couldn't wake up every morning to see that same dazzling blue light that rose toward heaven like some magical essence.

The letters she writes me, take me to a magical world she created, while we visualize every word written. She watches it along with me, holding my hand. It's phenomenal, exploring the world she created. I could inhale her aroma, in the letter where she has spilled her engraved emotions.

The revolver was chambered for .442 rounds, which meant there was only room for five. "These are large caliber bullets for such a short gun," Merritt remarked. "It's designed to stop someone at close range," Ethan said, absently arching up to rub a spot on his chest. "Being hit by one of those bullets feels like a kick from a mule." "Why is the hammer bobbed?" "To keep it from catching on the holster or clothing, if I have to draw it fast." Keeping the muzzle of the gun pointed away from him, Merritt reassembled the revolver, slid the extractor rod into place, and locked it deftly. "Well done," Ethan commented, surprised by her assurance. "You're familiar with guns, then." "Yes, my father taught me. May I shoot it?" "What are you going to aim for?" By this time, the others had come out from the parlor to watch. "Uncle Sebastian," Merritt asked, "are those pottery rabbits on the stone wall valuable?" Kingston smiled slightly and shook his head. "Have at it." "Wait," Ethan said calmly. "That's a twenty-yard distance. You'll need a longer-range weapon." With meticulous care, he took the revolver from her and replaced it in his coat. "Try this one." Merritt's brows lifted slightly as he pulled a gun from a cross-draw holster concealed by his coat. This time, Ethan handed the revolver to her without bothering to disassemble it first. "It's loaded, save one chamber," he cautioned. "I put the hammer down to prevent accidental discharge." "A Colt single-action," Merritt said, pleased, admiring the elegant piece, with its four-and-a-half-inch barrel and custom engraving. "Papa has one similar to this." She eased the hammer back and gently rotated the cylinder. "It has a powerful recoil," Ethan warned. "I would expect so." Merritt held the Colt in a practiced grip, the fingers of her support hand fit neatly underneath the trigger guard. "Cover your ears," she said, cocking the hammer and aligning the sights. She squeezed the trigger. An earsplitting report, a flash of light from the muzzle, and one of the rabbit sculptures on the wall shattered. In the silence that followed, Merritt heard her father say dryly, "Go on, Merritt. Put the other bunny out of its misery." She cocked the hammer, aimed and fired again. The second rabbit sculpture exploded. "Sweet Mother Mary," Ethan said in wonder. "I've never seen a woman shoot like that." "My father taught all of us how to shoot and handle firearms safely," Merritt said, giving the revolver back to him grip-first.

Watching this cavalcade of outrages sobered Washington’s political chattering classes in a way George Packer powerfully captured:5 The adults were too sophisticated to see Trump’s special political talents—his instinct for every adversary’s weakness, his fanatical devotion to himself, his knack for imposing his will, his sheer staying power. They also failed to appreciate the advanced decay of the Republican Party, which by 2016 was far gone in a nihilistic pursuit of power at all costs. They didn’t grasp the readiness of large numbers of Americans to accept, even relish, Trump’s contempt for democratic norms and basic decency. It took the arrival of such a leader to reveal how many things that had always seemed engraved in monumental stone turned out to depend on those flimsy norms, and how much the norms depended on public opinion. Their vanishing exposed the real power of the presidency. Legal precedent could be deleted with a keystroke; law enforcement’s independence from the White House was optional; the separation of powers turned out to be a gentleman’s agreement; transparent lies were more potent than solid facts. None of this was clear to the political class until Trump became president.

Approximately three thousand people work for the Bureau of Engraving. It takes 490 notes to make a pound, and it would require 14.5 million notes to make a stack one mile high. Coin and paper account for only about 8 percent of all the dollars in the world. The rest are merely numbers in a ledger or tiny electronic blips on a computer chip. At the end of the process, the workers bundle the bills into packages of 100, which they then stack into bricks of 4,000. These bricks are loaded onto a pallet for transport to the basement from where they will be sent to the various Federal Reserve offices around the nation for distribution to banks and the public. Along the way, the curious visitors pepper the guides with questions: Q. Why are so many employees listening to music on headphones? A. To block the loud sound of the printing, cutting, and stacking machines. Q. Why are some of them eating? A. They are on break. Q. Why are all of the checkers so fat? A. Because they sit all day and watch money go by with little chance for exercise.

Because there is a growing belief among the community of thinking beings that by 2050 men and women will be marrying human like robots. At that point, how Craig Raine will describe his experiences will be fascinating to know. And in my imagination I have already travelled with the Green Man into the future called 2075 and witnessed How humans will experience love in 2075. Because this science fiction novel navigates through the possibility of men and women falling in love with machines, without knowing they are robots imitating human emotions. Will you still dare to fall in love in 2075 or will you strive to tell the difference between a human lover and a robotic lover? Now it is your turn to join the Green Man on this exciting journey into 2075, where he will reveal to you what the world would look like in 2075, and take you on an excitingly epic journey with the protagonist, Saabir, who criss crosses the highways and all by ways of emotional trajectory in the midst of synthetic emotions and feelings that engulf him. To know more, travel with the Green Man via the science fiction titled, They Loved in 2075. With this anticipation I shall dream of you tonight and hope that you will be able to unlock the alien imagination within you, to realise the part of you that is from Heaven. If you have any doubts, here is the poem by ​​Craig Raine to make you a dreamer who while asleep is always awake in his/her subconscious state too. Because he/she has learned the art of having a rendezvous with the light that radiates through the universe, to eventually settle in a dreamer's eyes who dares to dream beyond the ordinary and the 3 dimensional reality. "A Martian Sends A Postcard Home” Caxtons are mechanical birds with many wings and some are treasured for their markings-- they cause the eyes to melt or the body to shriek without pain. I have never seen one fly, but sometimes they perch on the hand. Mist is when the sky is tired of flight and rests its soft machine on the ground: then the world is dim and bookish like engravings under tissue paper Rain is when the earth is television. It has the properites of making colours darker. Model T is a room with the lock inside -- a key is turned to free the world for movement, so quick there is a film to watch for anything missed. But time is tied to the wrist or kept in a box, ticking with impatience. In homes, a haunted apparatus sleeps, that snores when you pick it up. If the ghost cries, they carry it to their lips and soothe it to sleep with sounds. And yet, they wake it up deliberately, by tickling with a finger. Only the young are allowed to suffer openly. Adults go to a punishment room with water but nothing to eat. They lock the door and suffer the noises alone. No one is exempt and everyone's pain has a different smell. At night, when all the colours die, they hide in pairs and read about themselves -- in colour, with their eyelids shut. Dedicated to you, the Green Man and Saabir who hails from 2075 and dares to love a real woman in 2075 because he loves her a lot!

She inhaled sharply as she felt him nuzzle the fragile wisps of hair at her nape. "How soft you are," he breathed. "Like silk. Like kitten fur." The touch of his lips sent a ripple through the overheated core of her body. "Nick, I-" "Mrs. Trench told me that you tried the shower-bath." His hand coasted from her hip to the indentation of her waist. "Did you like it?" "It was very refreshing," Lottie managed to say. "I'm going to watch you the next time." "Oh, no you won't!" He laughed quietly and offered, "I'll let you watch me, then." Before she could stop herself, Lottie imagined him standing in the shower-bath, the water coursing and gliding over his skin, darkening his hair, steam veiling his sapphire eyes. The image was a vague one, as she had never seen a naked man, only the engraved images in an anatomy book she had found in Lord Westcliff's library. She had pored over the drawings with fascination, wishing that certain details had been more fully articulated. Soon she would not have to wonder. He seemed to read her thoughts. "It's not wrong to like it," he said, stroking her midriff with his palm. "Whom will it benefit if you deny yourself pleasure? You're paying the price for my protection- you may as well get some enjoyment out of it.

But what I like the most is him, and I want to engrave him in every cell of my body, take everything he has to offer, and make him all mine. A mortal trying to trap a god. Don’t all of those stories end in tragedies? Everyone says it’s impossible for two different worlds to collide. They need to stay separate, watching from afar.

Is that the Crystal Palace? Oh, it must be. It’s so beautiful—much more so than the engravings I’ve seen.” The building, which covered an area of more than nine acres, housed an international show of art and science called the Great Exhibition. Win had read about it in the French newspapers, which had aptly termed the exhibition one of the great wonders of the world. “How long since it was completed?” she asked, her step quickening as they headed toward the glittering building. “Not quite a month.” “Have you been inside? Have you seen the exhibits?” “I’ve visited once,” Merripen said, smiling at her eagerness. “And I saw a few of the exhibits, but not all. It would take three days or more to look at everything.” “Which part did you go to?” “The machinery court, mostly.” “I do wish I could see even a small part of it,” she said wistfully, watching the throngs of visitors exiting and entering the remarkable building. “Won’t you take me?” “You wouldn’t have time to see anything. It’s already afternoon. I’ll bring you tomorrow.” “Now. Please.” She tugged impatiently on his arm. “Oh, Kev, don’t say no.” As Merripen looked down at her, he was so handsome that she felt a pleasant little ache at the pit of her stomach. “How could I say no to you?” he asked softly.

Where were you today?” Poppy’s pleasure dissolved as she understood. He was suspicious of her. He thought she had gone to visit Michael. The injustice of that, and the hurt of being mistrusted, caused her face to stiffen. She answered in a brittle voice. “I went out for an errand or two.” “What kind of errand?” “I’d rather not say.” Harry’s face was hard and implacable. “I’m afraid I’m not giving you a choice. You will tell me where you went and whom you saw.” Reddening in outrage, Poppy whirled away from him and clenched her fists. “I don’t have to account for every minute of my day, not even to you.” “Today you do.” His eyes narrowed. “Tell me, Poppy.” She laughed incredulously. “So you can verify my statements, and decide whether I’m lying to you?” His silence was answer enough. Hurt and furious, Poppy went to her reticule, which had been set on a small table, and rummaged in it. “I went to visit Leo,” she snapped without looking at him. “He’ll vouch for me, and so will the driver. And afterward I went to Bond Street to pick up something I had bought for you. I had wanted to wait for an appropriate moment to give it to you, but apparently that’s not possible now.” Extracting an object encased in a small velvet pouch, she resisted the temptation to throw it at him. “Here’s your proof,” she muttered, pushing it into his hands. “I knew you would never get one of these on your own.” Harry opened the pouch slowly, and let the object slide into his hand. It was a pocket watch with a solid gold casing, exquisitely simple except for the engraved initials JHR on the lid. There was a perplexing lack of reaction from Harry. His dark head was bent so that Poppy couldn’t even see his face. His fingers closed around the watch, and he let out a long, deep breath. Wondering if she had done the wrong thing, Poppy turned blindly to the bellpull. “I hope you like it,” she said evenly. “I’ll ring for dinner now. I’m hungry, even if you’re—” All at once Harry seized her from behind, wrapping his arms around her, one hand still gripped around the watch. His entire body was trembling, powerful muscles threatening to crush her. His voice was low and remorseful. “I’m sorry.” Poppy relaxed against him as he continued to hold her. She closed her eyes. “Damn it,” he said into the loose sheaf of her hair, “I’m so sorry. It’s just that the thought of you having any feelings for Bayning . . . it . . . doesn’t bring out the best in me.” “There’s an understatement,” Poppy said darkly. But she turned in his arms and pressed against him, her hand sliding up to the back of his head. “It tortures me,” he admitted gruffly. “I don’t want you to care for any man but me. Even if I don’t deserve it.

Under the Sun" The days are my consolation. I take one home each night and put it in the case beside my bed and watch it fade in the dark, no matter how shiny it seems at first, no matter how high it stands behind the glass. I keep a few polished for memory's sake, but even they grow tarnished and lost among the others. "Thank you," I say to the dusk each night for another trophy engraved with the cloud code of that particular day—April l0, June 19 ... As for the diamond- studded chalice I glimpsed in a dream, I no longer want it, although I live as if I do to fool myself, throwing quarters at a wall, playing the numbers, singing, "Grief is happy with a stone. See how bright it shines on the dull cold ground.

Stop doing this,” she cried fiercely. “You’ll drive me mad. You want to behave as if I belong to you, but I don’t, and I never will. Your worst nightmare is becoming a husband and father, and so you seem determined to form some kind of lesser attachment that I do not want. Even if I were pregnant and you felt duty-bound to propose, I would still refuse you, because I know it would make you as unhappy as it would make me.” Devon’s intensity didn’t lessen, but it changed from anger into something else. He held her with a gaze of hot blue infinity. “What if I said I loved you?” he asked softly. The question drove a spike of pain through her chest. “Don’t.” Her eyes smarted with tears. “You’re not the kind of man who could ever say that and mean it.” “It’s not who I was.” His voice was steady. “But it’s who I am now. You’ve shown me.” For at least a half minute, the only sound was the crackling, shivering fire on the hearth. She didn’t understand what he truly thought or felt. But she would be a fool to believe him. “Devon,” she eventually said, “when it comes to love…neither you nor I can trust your promises.” She couldn’t see through the glittering film of misery, but she was aware of him moving, bending to pick up the coat he had tossed aside, rummaging for something. He came to her, catching her arm lightly in his hand, drawing her to the bed. The mattress was so high that he had to fit his hands around her waist and hoist her upward to sit on it. He set something on her lap. “What is this?” She looked down at a small wooden box. His expression was unfathomable. “A gift for you.” Her sharp tongue got the better of her. “A parting gift?” Devon scowled. “Open it.” Obeying, she lifted the lid. The box was lined with red velvet. Pulling aside a protective layer of cloth, she uncovered a tiny gold pocket watch on a long chain, the casing delicately engraved with flowers and leaves. A glass window on the hinged front cover revealed a white enamel dial and black hour and minute markers. “It belonged to my mother,” she heard Devon say. “It’s the only possession of hers that I have. She never carried it.” Irony edged his voice. “Time was never important to her.

Open it.” Obeying, she lifted the lid. The box was lined with red velvet. Pulling aside a protective layer of cloth, she uncovered a tiny gold pocket watch on a long chain, the casing delicately engraved with flowers and leaves. A glass window on the hinged front cover revealed a white enamel dial and black hour and minute markers. “It belonged to my mother,” she heard Devon say. “It’s the only possession of hers that I have. She never carried it.” Irony edged his voice. “Time was never important to her.

Mark, too, how little Johnson boasts of his "sincerity." He has no suspicion of his being particularly sincere,—of his being particularly anything! A hard-struggling, weary-hearted man, or "scholar" as he calls himself, trying hard to get some honest livelihood in the world, not to starve, but to live—without stealing! A noble unconsciousness is in him. He does not "engrave Truth on his watch-seal;" no, but he stands by truth, speaks by it, works and lives by it. Thus

I have never been good at pretending, but somewhere there's an award engraved with my name, for playing alive, despite the times I watched myself die.

Jeffrey ran to his car parked outside Mr Roslan's block, not wanting to lose sight of the young man and remembering Faizal's number plate. He found the black Nissan and pursued it from two or three cars away. It had started to drizzle and he almost lost him a few times along the Bukit Timah and Kranji Expressways, but kept a close eye on the back of Faizal's car. For twenty minutes they drove like an invisible convoy, before Faizal turned off the highway into the Lim Chu Kang area. Keeping his distance, Jeffrey saw Faizal stop his car by the main gate of Pusara Abadi, the Muslim cemetery ground. Jeffrey swerved to the side and waited until he saw Faizal getting out of the car empty-handed and entering the cemetery. Then, getting out of his car he pried open the Nissan's boot with an Allan key that he always carried in his pocket. Inside was a black trash bag and a long machete, well-worn and used, crusted along its edges with a dark stain. It was soil, not blood, as he lifted his finger to taste it. Jeffrey put the machete back, closed the boot and went closer into the burial grounds, the long weeds brushing the sides of his trousers. Faizal stood in a far corner of the cemetery. Jeffrey stopped, crouched behind a large tombstone and watched. A darker, smaller man appeared next to Faizal. They talked for a few minutes; several crumpled dollar notes were exchanged. Faizal patted the man's back. The man departed. Then Faizal walked back to his car. Jeffrey continued to watch. Faizal returned with the machete. Taking his time, he hacked away at the overgrown scrub around a blue minaret tombstone. Slow and lethargic like a landscape gardenener, he pulled up the weeds and threw them into a pile at the side. Jeffrey waited until Faizal cleared the vegetation and left the grounds, before inching forward. On the minaret tombstone, he saw the engraved name, 'Rubianah binte Bakar' - she had died eight years ago.