Wolf Picture Quotes

Suppose within each book there is another book, and within every letter on every page another volume constantly unfolding; but these volumes take no space on the desk. Suppose knowledge could be reduced to a quintessence, held within a picture, a sign, held within a place which is no place. Suppose the human skull were to become capacious, spaces opening inside it, humming chambers like beehives.

Emperor, right." she retacked the curtain "That's weird to say, after eighteen years of listening to celebrity gossip feeds go on and on about 'Earth's favorite prince'". She claimed one of the lumpy sofa cushions, curling her legs beneath her. "I had a picture of him taped to my wall when I was fifteen. Grand-mere cut it off a cereal box." Wolf scowled. "Of course, half the girls in the world probably have had that same picture from that same cereal box." Wolf scrunched his shoulders against his neck, and Scarlet grinned, teasing. "Oh, no. You're not going to have to fight him for pack dominance now are you? Come here." She beckoned him with a wave of her hand and he was at her side in half a second, the glower softening as he pulled her against his chest.

Is it? Because that picture of me was taken by my old school's yearbook club, and they put it in the section titled 'STUDENT FAILSAUCES! XD. What's an XD? A sideways laughing face of horrendous proportions. Don't change the subject.

often she had seemed to herself to be moving among those vanished figures of old books and pictures, an invisible ghost among the living, better acquainted with them than with her own friends. she very nearly lost consciousness that she was a separate being, with a future of her own.

Wolfe was drinking beer and looking at pictures of snowflakes in a book someone had sent him from Czechoslovakia... ...Wolfe seemed absorbed in the pictures. Looking at him, I said to myself, "He's in a battle with the elements. He's fighting his way through a raging blizzard, just sitting there comfortably looking at pictures of snowflakes. That's the advantage of being an artist, of having imagination." I said aloud, "You mustn't go to sleep, sir, it's fatal. You freeze to death.

Have you wondered what our babies would have looked like?" Jen asked absently as she frowned inwardly trying to picture the future she might have had with her wolf. "Baby this isn't really the time to discuss our babies. Let's focus on who is carrying you so that I can get you back so that we can make babies." Jen groaned and felt the arms around her tighten which brought a gasp from her. Decebel must have sensed her pain as she felt his worry. "I'm okay, just hurts." Jen actually felt a smile spread across her face, "So you want to make babies with me?" This time when Decebel laughed she swore she could feel his hands run down her sides to her waist. "Only you would want to discuss making babies at a time like this." "Well you have to admit that it's a better topic than my nearly being killed and now being kidnapped. Seriously Dec, I'd much rather think about us making babies.

He smirked. "It's my wolf.He's trying to claw through my skin to get to you." She shook her head and narrowed her eyes. "I don't believe that for a second. Your wolf is a sweetheart." He could picture his wolf preening and grinning like an idiot at her compliment.

The modern picture of the artist began to form: The poor, but free spirit, plebeian but aspiring only to be classless, to cut himself forever free from the bonds of the greedy bourgeoisie, to be whatever the fat burghers feared most, to cross the line wherever they drew it, to look at the world in a way they couldn't see, to be high, live low, stay young forever -- in short, to be the bohemian.

This is man: a writer of books, a putter-down of words, a painter of pictures, a maker of ten thousand philosophies. He grows passionate over ideas, he hurls scorn and mockery at another's work, he finds the one way, the true way, for himself, and calls all others false--yet in the billion books upon the shelves there is not one that can tell him how to draw a single fleeting breath in peace and comfort. He makes histories of the universe, he directs the destiny of the nations, but he does not know his own history, and he cannot direct his own destiny with dignity or wisdom for ten consecutive minutes.

One day my sister Virginia woke up feeling wolfish. She made wolf SOUNDS and did strange things...

Then he put that one down behind a framed sepia-tone picture of a baseball player named Cecil Travis and picked up another one and tilted it back to his lips.

He sees the entire picture, and HE DOES NOT MAKE MISTAKES. He knows this is part of the story He is writing for me, for my family, and for all of the creation He is making right. It is not a plan B, and I trust that.

I’m Caitlin McDonald,” she said, loosening the thick wool scarf from around her neck and down off her face, motioning her chin toward the big male. “You’ve already met Hector and his gang.” When Major Standback said widow I pictured an older woman. Not this one. She was young, no more than thirty. The cold on the skin of her fine features made her face shine. She had the clean, clear beauty of a china doll.

The lives of men who have to live in our great cities are often tragically lonely. In many more ways than one, these dwellers in the hive are modern counterparts of Tantalus. They are starving to death in the midst of abundance. The crystal stream flows near their lips but always falls away when they try to drink of it. The vine, rich-weighted with its golden fruit, bends down, comes near, but springs back when they reach out to touch it...In other times, when painters tried to paint a scene of awful desolation, they chose the desert or a heath of barren rocks, and there would try to picture man in his great loneliness--the prophet in the desert, Elijah being fed by ravens on the rocks. But for a modern painter, the most desolate scene would have to be a street in almost any one of our great cities on a Sunday afternoon.

It took eight months, but then we found you. In Caswell. There was a wolf who said he’d seen you in the compound. He was visiting, and he recognized you from your picture. He said he tried to talk to you, tried dropping a couple of hints, but there was nothing.” I couldn’t think of who this had been. “And it hurt,” Kelly continued, “because he said you seemed happy. And I almost convinced myself that maybe what we’d thought was right, that you had betrayed us. But then I remembered something, and I knew it couldn’t be true.” “What did you remember?” “The way you loved me.” It was a punch to the stomach. “You loved me,” Kelly said softly, “without reservation. Without expecting anything in return. You loved me, and I knew that you wouldn’t stop, not unless you were forced to. And I knew then that I wouldn’t stop, no matter what it took.

The picture he was cleaning showed an armored figure standing in a desolate landscape. It had no weapon, but held a staff bearing a strange, stiff banner. The visor of this figure’s helmet was entirely of gold, without eye slits or ventilation; in its polished surface the deathly desert could be seen in reflection, and nothing more.

The hunter is among the most innocent of men; living in the moment makes him feel pure. When he returns in the evening, his body aches, his mind is full of pictures of leaves and sky; he does not want to read documents. His miseries, his perplexities have receded, and they will tay away, provided--after food and wine, laughter and exchange of storeis--he gets up at dawn to do it all over again. But the winter king, less occupied, will begin to think about his conscience.

sat up high, oak branch ’tween my knees, and watched the tattooed man stride about in the snow. Pictures all over his face, no skin left no more, just ink and blood. Looking for me, he was. Always looking for me. He left red drops in the white, fallen from his fish knife.

I imagined him then walking the few feet to the hilltop, where he had bedded down so many times next his life partner, and lying down to rest. As he slowly drifted off to sleep, I would like to think that the scent from that tree triggered a picture. If so, then the last thing in 21’s mind as he lost consciousness for the final time was an image of 42.

When anger rears up in me I have a trick I do where I picture it as a freshly uncoiled snake dropping down from the jungle canopy and heading for my neck. If I look at it directly it’ll disappear, but I have to do it while the snake’s still dropping or it will strike. This sounds like something they’d teach you in therapy at the hospital or something, but it’s not. It’s just a trick I found somewhere by myself. Once you’ve looked at a deadly thing and seen it disappear, what more is there to do? Walk on through the empty jungle toward the city past the clearing.

He thinks, if you were born in Putney, you saw the river every day, and imagined it widening out to the sea. Even if you had never seen the ocean you had a picture of it in your head from what you had been told by foreign people who sometimes came upriver. You knew that one day you would go out into a world of marble pavements and peacocks, of hillsides buzzing with heat, the fragrance of crushed herbs rising around you as you walked. You planned for what your journeys would bring you: the touch of warm terra-cotta, the night sky of another climate, alien flowers, the stone-eyed gaze of other people’s saints. But if you were born in Aslockton, in flat fields under a wide sky, you might just be able to imagine Cambridge: no farther.

All of them, artists and theorists, were talking as if their conscious aim was to create a totally immediate art, lucid, stripped of all the dreadful baggage of history, an art fully revealed, honest, as honest as the flat-out integral picture plane.

Memories are important, like the bones of the mind. We build ourselves upon them, flesh and blood moulded around the pictures of what is past. I

...why don't you take a picture of yourself next to a fucking job application? How about that?

From time to time you'll see documentaries about low-ranked wolves who somehow rise to the top of the pack - an omega that earns a position as an alpha. Frankly, I don't buy it. I think that, in actuality, those documentary makers have misidentified the wolf in the first place. For example, an alpha personality, to the man on the street, is usually considered bold and take-charge and forceful. In the wolf world, though that describes the beta rank. Likewise, an omega wolf - a bottom-ranking, timid, nervous animal - can often be confused with a wolf who hangs behind the others, wary, protecting himself, trying to figure out the Big Picture. Or in other words: There are no fairy tales in the wild, no Cinderella stories. The lowly wolf that seems to rise to the top of the pack was really an alpha all along.

I see them on Facebook through the pictures Dad posts, but it’s like they aren’t real. It’s like they’re photoshopped Loch Ness monsters and the University of Whatever is going to prove the hoax by showing me the beam of light in the background is wavy or something. They’re real. Sometimes I wish they weren’t. And that’s horrible, so I stop wishing that. Or at least I try to.

Peering down the hallway, she saw Wolf hunkered over a counter, holding a tin can. Stepping into the galley’s light, Scarlet saw that the can was labeled with a picture of cartoon-red tomatoes. Judging from the enormous dents in its side, Wolf had been trying to open it with a meat tenderizer. He glanced up at her, and she was glad that she wasn’t the only one red faced. “Why would they put food in here if they were going to make it so hard to open?

Above the desk there was this framed picture of Jesus. He was reaching his hand out and making this face like he was about to get shot.

It must be in his mind, the picture of Thomas Howard in Canterbury, threatening to punch the holy nun.

Then I think about Photoshopping a picture of Wolf and me together in the yearbook: Best Couple.In your face, mysterious ponytailed wench.

Life was, after all, made up of tiny choices. Like a pointillist painting, no one dot, no one choice, defined it. But together? There emerged a picture. A life.

I trace the letters on the tree behind us in the picture. No one knows what's churning inside of me. Crushing guilt...Pain...Relief. All mixed with knowledge that Trip is never coming back.

The algorithm seemed to be really good at distinguishing the two rather similar canines; it turned out that it was simply labeling any picture with snow as containing a wolf. An example with more serious implications was described by Janelle Shane in her book You Look Like a Thing and I Love You: an algorithm that was shown pictures of healthy skin and of skin cancer. The algorithm figured out the pattern: if there was a ruler in the photograph, it was cancer.7 If we don’t know why the algorithm is doing what it’s doing, we’re trusting our lives to a ruler detector.

. . . to my surprise I began to know what The Language was about, not just the part we were singing now but the whole poem. It began with the praise and joy in all creation, copying the voice of the wind and the sea. It described sun and moon, stars and clouds, birth and death, winter and spring, the essence of fish, bird, animal, and man. It spoke in what seemed to be the language of each creature. . . . It spoke of well, spring, and stream, of the seed that comes from the loins of a male creature and of the embryo that grows in the womb of the female. It pictured the dry seed deep in the dark earth, feeling the rain and the warmth seeping down to it. It sang of the green shoot and of the tawny heads of harvest grain standing out in the field under the great moon. It described the chrysalis that turns into a golden butterfly, the eggs that break to let out the fluffy bird life within, the birth pangs of woman and of beast. It went on to speak of the dark ferocity of the creatures that pounce upon their prey and plunge their teeth into it--it spoke in the muffled voice of bear and wolf--it sang the song of the great hawks and eagles and owls until their wild faces seemed to be staring into mine, and I knew myself as wild as they. It sang the minor chords of pain and sickness, of injury and old age; for a few moments I felt I was an old woman with age heavy upon me.

..."we have been fed for so many generations on tales of the Wolf's ferocity, treachery, rapacity, cowardice, and strength" that most people have a "wholly wrong picture of this most interesting animal.

Pieces Sometimes there only seem to be clouds. Tonight, the clouds hang above me, sulking in the sky. They watch me write the words. I don’t even think they bother to read. I imagine myself in a room, where some shattered pieces are strewn on the floor, in front of me. As I walk towards them, I have no idea what they are, so I approach with trepidation. They seem to be a puzzle, all torn up and thrown apart. They look injured. I crouch down and being putting them together, finding each scrap that surrounds my feet. Gradually, I see the picture form as I put it all together. Gradually, I see. These pieces on the ground. Are made of me.

Greebo was one of her blind spots. While intellectually she would concede that he was indeed a fat, cunning, evil-smelling multiple rapist, she nevertheless instinctively pictured him as the small fluffy kitten he had been decades before. The fact that he had once chased a female wolf up a tree and seriously surprised a she-bear who had been innocently digging for roots didn’t stop her worrying that something bad might happen to him.

She has a fine genius for poetry, combined with real business earnestness, and "goes in"--to use an expression of Alfred's--for Woman's mission, Woman's rights, Woman's wrongs, and everything that is woman's with a capital W, or is not and ought to be, or is and ought not to be. "Most praiseworthy, my dear, and Heaven prosper you!" I whispered to her on the first night of my taking leave of her at the Picture-Room door, "but don't overdo it. And in respect of the great necessity there is, my darling, for more employments being within the reach of Woman than our civilisation has as yet assigned to her, don't fly at the unfortunate men, even those men who are at first sight in your way, as if they were the natural oppressors of your sex; for, trust me, Belinda, they do sometimes spend their wages among wives and daughters, sisters, mothers, aunts, and grandmothers; and the play is, really, not ALL Wolf and Red Riding-Hood, but has other parts in it." However, I digress.

For years, he said, his life had felt to him like a kind of experiment. The question being, How long could he hold out before the whole thing came crashing down on his head? He'd pictured himself looking back on the present day or week from his jail cell, or while contemplating the grass outside the asylum where surely he was headed. But rather than defeating him, these thoughts had actually fueled Wolf with determination. Fuck it, he'd think, if he had to go down, he sure as hell wasn't going without a fight.

Arms and legs lying around?” asked Bean. Gross. But interesting. “Yeah,” said Ivy. “He was a really bad wolf until he met that good guy.” Bean pictured herself patting the wolf’s shaggy head. He was trotting alongside her with his wolf claws clicking on the sidewalk.

NOW!” Ronan shouted as Wolf zipped past his parents and Santa. He caught the little boy at the end of Santa’s red carpet. “Did you get it?” he asked the photographer. “I did,” the man laughed. “It’s the best picture I’ve taken all day! He looks like Roadrunner dashing away from the coyote.

Barry Schwartz points out in his book, The Paradox of Choice, that this kind of sheep-in-wolf’s-clothing decision is more likely to come up the more options you have to choose from. The greater the number of available options, the greater the likelihood that more than one of those options will look pretty good to you. The more options that look pretty good to you, the more time you spend in analysis paralysis. That’s the paradox: more choice, more anxiety. Remember, if the only choices are between Paris and a trout cannery, no one has a problem. But what if the choices are Paris or Rome or Amsterdam or Santorini or Machu Picchu? You get the picture. THE ONLY-OPTION TEST For any options you’re considering, ask yourself, “If this were the only option I had, would I be happy with it?” A useful tool you can use to break the gridlock is the Only-Option Test. If this were the only thing I could order on the menu . . . If this were the only show I could watch on Netflix tonight . . . If this were the only place I could go for vacation . . . If this were the only college I got accepted to . . . If this were the only house I could buy . . . If this were the only job I got offered . . . The Only-Option Test clears away the debris cluttering your decision. If you’d be happy if Paris were your only option, and you’d be happy if Rome were your only option, that reveals that if you just flip a coin, you’ll be happy whichever way the coin lands.

Often a hungry person will wolf down unpalatable food; but as his stomach swells, he'll suddenly notice how bad the food is and feel nauseated. I was experiencing something like this, and when I pictured myself lying face to face with this nose again tonight, I felt bloated, fed up. Enough of this feast.

Now let me tell you why I have made this "energy" diversion. Briefly, energy is a fundamental or primitive concept. I would call it an archetype. Just like an archetype that appears in dreams, the picture of energy we have is quite different depending on how we in our societies have come to use it. I would also suggest that the concept of energy arises as part of the collective unconscious. It is universal and capable of taking many forms. The search for the energy of a system in the "out there" physical world is analogous to the search for the meaning of a dream in Jungian terms, in the "in here" of our dreaming world.

She heard a crash from the galley as soon as she pulled it open. Peering down the hallway, she saw Wolf hunkered over a counter, holding a tin can. Stepping into the galley's light, Scarlet saw that the can was labeled with a picture of cartoon-red tomatoes. Judging from the enormous dents in its side, Wolf had been trying to open it with a meat tenderizer. He glanced up at her, and she was glad that she wasn't the only one red faced. "Why would they put food in here if they were going to make it so hard to open?" She bit her lip against a weak smile, not sure if it was from pity or amusement. "Did you try a can opener?

Keep believing,” Nita said, smiling. “He’s the only thing that will get us through the bad times. We can’t see the whole picture the way He can—thank goodness! Why, I daresay that if we could see our future, it would likely scare us to death. That’s why we’re told to take one day at a time and not to worry about tomorrow.

These prophets engage in daylight robbery, in the name of holding goods in common. It is said they have seized the houses of the rich, burned their letters, slashed their pictures, mopped the floors with fine embroidery, and shredded the records of who owns what, so former times can never come back. “Utopia,” he says. “Is it not?

He went back to snapping pictures, this time getting close-ups of each SWAT member. “The ones who’re only interested in muscular men who kick in doors and shoot things.” Her lips twitched. “Versus men who do what? Take pictures and eavesdrop on police scanners?” “And program their own phone apps,” he told her. “Trust me. That skill is in high demand these days.

It seemed to him that the Square, itself the accidental masonry of many years, the chance agglomeration of time and of disrupted strivings, was the center of the universe. It was for him, in his soul's picture, the earth's pivot, the granite core of changelessness, the eternal place where all things came and passed, and yet abode forever and would never change.

And inside there were the opulent green and luxury of the Pullman cars, the soft glow of the lights, and people fixed there for an instant in incomparably rich and vivid little pictures of their life and destiny, as they were all hurled onward, a thousand atoms, to their journey's end somewhere upon the mighty continent, across the immense and lonely visage of the everlasting earth.

I tried picturing all those places on that map of BeeCee. That’s what we call our country now, just letters of its real name what most people have forgot or don’t care to remember. The map said that old name behind all the scribblings, all the new borders and territories my nana drawn on, but I could only read letters then, not whole words. All I know is that one day all the maps became useless and we had to make our own. The old’uns called that day the Fall or the Reformation. Nana said some down in the far south called it Rapture. Nana was a babe when it happened, said her momma called it the Big Damn Stupid. Set everything back to zero. I never asked why, never much cared. Life is life and you got to live it in the here- now not the back- then. And the here- now for little me was the Thick Woods, with night coming fast.

The police are not witlings; they will know that each of you may have had a private reason for your reserve not relevant to their investigation; but they will also know that if one of you was involved with Carol Mardus regarding the baby, and if you killed Ellen Tenzer, you would certainly have omitted her name from your list and you would not have identified the picture. So they will be importunate with all of you.

She’d always pictured her future self as a lone wolf traveling around the world, ensnaring romantic conquests and achieving her wildest and most ambitious goals. She didn’t think that at nineteen she would be so dependent on other people; she pictured herself as an autonomous and untouchable force that occasionally flitted back home to show off her new feathers before flying away to her life that was much more exciting than theirs.

What you were supposed to hear when the record played backwards was the phrase wolf in white van. Nobody had a very firm idea of what that was supposed to mean, but they all agreed about what they were hearing: that it was a hellish picture to paint, and for young people to hear. Paul did ask what, exactly, it meant, and the guest talked about the symbol of the wolf in ancient cultures, but nothing got much clearer. It was a dark smudge of an idea shared among believers.

Whatever is happening elsewhere, whatever deceits and frustrations, you can forget them in the field. The hunter is among the most innocent of men; living in the moment makes him feel pure. When he returns in the evening, his body aches, his mind is full of pictures of leaves and sky; he does not want to read documents. His miseries, his perplexities have receded, and they will stay away, provided—after food and wine, laughter and exchange of stories—he gets up at dawn to do it all over again.

From that Sunday on Preacher Franklin added a new song to the service called , 'I Am Better Than You' and it went like this: Many years I wandered lost and scared, Through troubles and toils my wickedness flared Then in my darkness I realized what I needed to do Now I do all the right things and I am better than you. Chorus: Better than you, yes I am better than you My life has a purpose and I can tell you what to do Better than you, yes I am better than you If you are a scared miserable loser, I will help pull you through.

How to Love the Dead She lives, the bird says, and means nothing silly. She is dead and available the fox says, knowing about the spirits. Not the picture at the funeral, not the object of grieving. She is dead and you can have that, he says. If you can love without politeness or delicacy, the fox says, love her with your wolf heart. As the dead are to be desired. Not the way long marriages are, nothing happening again and again, Not in the woods or in the fields. Not in the cities. The painful love of being permanently unhoused. Not the color, but the stain.

His life coiled back into the brown murk of the past like a twined filament of electric wire; he gave life, a pattern, and movement to these million sensations that Chance, the loss or gain of a moment, the turn of the head, the enormous and aimless impulsion of accident, had thrust into the blazing heat of him. His mind picked out in white living brightness these pinpoints of experience and the ghostliness of all things else became more awful because of them. So many of the sensations that returned to open haunting vistas of fantasy and imagining had been caught from a whirling landscape through the windows of the train. And it was this that awed him — the weird combination of fixity and change, the terrible moment of immobility stamped with eternity in which, passing life at great speed, both the observer and the observed seem frozen in time. There was one moment of timeless suspension when the land did not move, the train did not move, the slattern in the doorway did not move, he did not move. It was as if God had lifted his baton sharply above the endless orchestration of the seas, and the eternal movement had stopped, suspended in the timeless architecture of the absolute. Or like those motion-pictures that describe the movements of a swimmer making a dive, or a horse taking a hedge — movement is petrified suddenly in mid-air, the inexorable completion of an act is arrested. Then, completing its parabola, the suspended body plops down into the pool. Only, these images that burnt in him existed without beginning or ending, without the essential structure of time. Fixed in no-time, the slattern vanished, fixed, without a moment of transition. His sense of unreality came from time and movement, from imagining the woman, when the train had passed, as walking back into the house, lifting a kettle from the hearth embers. Thus life turned shadow, the living lights went ghost again. The boy among the calves. Where later? Where now? I am, he thought, a part of all that I have touched and that has touched me, which, having for me no existence save that which I gave to it, became other than itself by being mixed with what I then was, and is now still otherwise, having fused with what I now am, which is itself a cumulation of what I have been becoming. Why here? Why there? Why now? Why then? The fusion of the two strong egotisms, Eliza’s inbrooding and Gant’s expanding outward, made of him a fanatical zealot in the religion of Chance. Beyond all misuse, waste, pain, tragedy, death, confusion, unswerving necessity was on the rails; not a sparrow fell through the air but that its repercussion acted on his life, and the lonely light that fell upon the viscous and interminable seas at dawn awoke sea-changes washing life to him. The fish swam upward from the depth.

De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation.

I read a heap of books to prepare to write my own. Valuable works about art crime include The Rescue Artist by Edward Dolnick, Master Thieves by Stephen Kurkjian, The Gardner Heist by Ulrich Boser, Possession by Erin Thompson, Crimes of the Art World by Thomas D. Bazley, Stealing Rembrandts by Anthony M. Amore and Tom Mashberg, Crime and the Art Market by Riah Pryor, The Art Stealers by Milton Esterow, Rogues in the Gallery by Hugh McLeave, Art Crime by John E. Conklin, The Art Crisis by Bonnie Burnham, Museum of the Missing by Simon Houpt, The History of Loot and Stolen Art from Antiquity Until the Present Day by Ivan Lindsay, Vanished Smile by R. A. Scotti, Priceless by Robert K. Wittman with John Shiffman, and Hot Art by Joshua Knelman. Books on aesthetic theory that were most helpful to me include The Power of Images by David Freedberg, Art as Experience by John Dewey, The Aesthetic Brain by Anjan Chatterjee, Pictures & Tears by James Elkins, Experiencing Art by Arthur P. Shimamura, How Art Works by Ellen Winner, The Art Instinct by Denis Dutton, and Collecting: An Unruly Passion by Werner Muensterberger. Other fascinating art-related reads include So Much Longing in So Little Space by Karl Ove Knausgaard, What Is Art? by Leo Tolstoy, History of Beauty edited by Umberto Eco, On Ugliness also edited by Umberto Eco, A Month in Siena by Hisham Matar, Art as Therapy by Alain de Botton and John Armstrong, Art by Clive Bell, A Philosophical Enquiry into the Sublime and Beautiful by Edmund Burke, Seven Days in the Art World by Sarah Thornton, The Painted Word by Tom Wolfe, and Intentions by Oscar Wilde—which includes the essay “The Critic as Artist,” written in 1891, from which this book’s epigraph was lifted.

Evan slung his arm over my shoulder. “That’s my mom and dad,” he pointed to a couple approaching us as families trickled onto the field. “Mom! Get a picture of me and she-wolf?” “Sure, sure,” the strawberry blonde lady said, digging in her purse. “Aha! Here it is. I’m Elaine, Evan’s mom,” she announced to us. “Now smile!” I smiled but just before the flash went off Evan kissed my cheek. I gasped in surprise, probably making the funniest face known to man. Evan snatched the camera from his mom and laughed. “That is totally going to be my facebook profile pic. Take a look she-wolf.” He turned the camera so I could see the image on the screen. Oh, God. I narrowed my eyes and pointed a finger at Evan. “You better promise me that, that picture never sees the light of day.” “Well, technically it’s already seen the light of day, seeing as it’s the morning and all.” “Evan, you know what I mean.” “Fine,” he lowered his head, “I won’t post it on facebook.” “Or twitter, instagram, or any other picture sharing site. Got it? Maybe you should just delete it now?” “Nah,” Evan grinned. “I’m keeping this forever and ever as proof that I kissed the she-wolf.

If talking pictures could be said to have a father, it was Lee De Forest, a brilliant but erratic inventor of electrical devices of all types. (He had 216 patents.) In 1907, while searching for ways to boost telephone signals, De Forest invented something called the thermionic triode detector. De Forest’s patent described it as “a System for Amplifying Feeble Electric Currents” and it would play a pivotal role in the development of broadcast radio and much else involving the delivery of sound, but the real developments would come from others. De Forest, unfortunately, was forever distracted by business problems. Several companies he founded went bankrupt, twice he was swindled by his backers, and constantly he was in court fighting over money or patents. For these reasons, he didn’t follow through on his invention. Meanwhile, other hopeful inventors demonstrated various sound-and-image systems—Cinematophone, Cameraphone, Synchroscope—but in every case the only really original thing about them was their name. All produced sounds that were faint or muddy, or required impossibly perfect timing on the part of the projectionist. Getting a projector and sound system to run in perfect tandem was basically impossible. Moving pictures were filmed with hand-cranked cameras, which introduced a slight variability in speed that no sound system could adjust to. Projectionists also commonly repaired damaged film by cutting out a few frames and resplicing what remained, which clearly would throw out any recording. Even perfect film sometimes skipped or momentarily stuttered in the projector. All these things confounded synchronization. De Forest came up with the idea of imprinting the sound directly onto the film. That meant that no matter what happened with the film, sound and image would always be perfectly aligned. Failing to find backers in America, he moved to Berlin in the early 1920s and there developed a system that he called Phonofilm. De Forest made his first Phonofilm movie in 1921 and by 1923 he was back in America giving public demonstrations. He filmed Calvin Coolidge making a speech, Eddie Cantor singing, George Bernard Shaw pontificating, and DeWolf Hopper reciting “Casey at the Bat.” By any measure, these were the first talking pictures. However, no Hollywood studio would invest in them. The sound quality still wasn’t ideal, and the recording system couldn’t quite cope with multiple voices and movement of a type necessary for any meaningful dramatic presentation. One invention De Forest couldn’t make use of was his own triode detector tube, because the patents now resided with Western Electric, a subsidiary of AT&T. Western Electric had been using the triode to develop public address systems for conveying speeches to large crowds or announcements to fans at baseball stadiums and the like. But in the 1920s it occurred to some forgotten engineer at the company that the triode detector could be used to project sound in theaters as well. The upshot was that in 1925 Warner Bros. bought the system from Western Electric and dubbed it Vitaphone. By the time of The Jazz Singer, it had already featured in theatrical presentations several times. Indeed, the Roxy on its opening night in March 1927 played a Vitaphone feature of songs from Carmen sung by Giovanni Martinelli. “His voice burst from the screen with splendid synchronization with the movements of his lips,” marveled the critic Mordaunt Hall in the Times. “It rang through the great theatre as if he had himself been on the stage.

A companionable silence fell between them, and Kris found he liked this pleasant restful moment between them. But his curiosity won in the end. “So, Rafe… what do you look like?” “Specific measurements?” Rafe chuckled, and Kris’s blush deepened. “I’m six-four—” “Jesus, you’re a giant!” Kris exclaimed, comparing his mental image of Rafe with his own height of five-ten, and realizing his head would barely reach the guy’s shoulders. “Thanks… I think,” Rafe replied with adorable modesty. “I weigh about two fifteen—” “You’re in great shape, then,” Kris interjected dreamily as he imagined this stranger in front of him—and the picture was beginning to form and take a definite shape of masculine perfection, bulk of muscles and broad shoulders, wide chest and tall figure tapered down to the waist and hips. It was a very nice picture too—sex on a stick. “I ride a lot,” Rafe explained, then apparently thought better of it. “I mean I ride horses—not men.” Kris burst out laughing. “Good one. You… uh, never ride men…?” As if he was standing right in front of him, Kris could see Rafe grinning. “Maybe.” There was a pause, and Kris couldn’t wait to hear more as he wanted to see what his mate looked like through his mind’s eye.

Owen couldn’t believe his luck. Candice Mayfair was the beautiful white wolf he’d seen that day so long ago. Not that she looked like a wolf right now. He only knew she was the wolf, unequivocally, because he recognized her scent. After the initial shock of seeing an unfamiliar and intriguing Arctic she-wolf, he’d gone after her. The whole pack had gone on a run that night, but they knew to stay far away from any campsite. He and the other guys had swum across the river to explore a bit. Cameron and his mate had stayed on the other side with the kids. He’d even swum back across the river to find her and discovered her scent had led right to one of the tents. Since she had moved into the tent, he knew she had to be one of their shifter kind. He’d even hung around the next day, waiting to catch a glimpse of her, but there were several women, and he had no idea which one had been her. Two blonds, a couple of brunettes, and a red-haired woman—none of whom looked like the picture he had of Clara Hart, though. Being a white wolf in summer had made it difficult to blend in, so he’d had to keep well out of sight. Candice Mayfair was definitely the author of the books on the website, though she didn’t look like the photo her uncle had of her, if she was Clara Hart. She had the same compelling eyes, different color, but they got his attention, grabbed hold, and wouldn’t let go. He carried her to her couch and set her down, staying close, his hand still on her arm until she seemed to regain her equilibrium. “The wolf pup was yours,” she accused, jerking her arm away from him. “Wolf pup?” “Yeah, wolf pup. Don’t pretend you don’t know about your own wolf pup.” Then all the pieces began to fall into place. Campers. Campfire. Food. Corey, the wolf pup she had to be referring to, hadn’t just found the food like they’d thought. Candice must not have been a wolf until that night. “You fed him? Corey? His mom wondered why he smelled of beef jerky that night. We thought he’d found some at the campsite. Don’t tell me…he bit you.

Look around on your next plane trip. The iPad is the new pacifier for babies and toddlers… Parents and other passengers read on Kindles… Unbeknownst to most of us, an invisible, game-changing transformation links everyone in this picture: the neuronal circuit that underlies the brain’s ability to read is subtly, rapidly changing… As work in neurosciences indicates, the acquisition of literacy necessitated a new circuit in our species’ brain more than 6,000 years ago… My research depicts how the present reading brain enables the development of some of our most important intellectual and affective processes: internalized knowledge, analogical reasoning, and inference; perspective-taking and empathy; critical analysis and the generation of insight. Research surfacing in many parts of the world now cautions that each of these essential “deep reading” processes may be under threat as we move into digital-based modes of reading… Increasing reports from educators and from researchers in psychology and the humanities bear this out. English literature scholar and teacher Mark Edmundson describes how many college students actively avoid the classic literature of the 19thand 20th centuries because they no longer have the patience to read longer, denser, more difficult texts. We should be less concerned with students’ “cognitive impatience,” however, than by what may underlie it: the potential inability of large numbers of students to read with a level of critical analysis sufficient to comprehend the complexity of thought and argument found in more demanding texts… Karin Littau and Andrew Piper have noted another dimension: physicality. Piper, Littau and Anne Mangen’s group emphasize that the sense of touch in print reading adds an important redundancy to information – a kind of “geometry” to words, and a spatial “thereness” for text. As Piper notes, human beings need a knowledge of where they are in time and space that allows them to return to things and learn from re-examination – what he calls the “technology of recurrence”. The importance of recurrence for both young and older readers involves the ability to go back, to check and evaluate one’s understanding of a text. The question, then, is what happens to comprehension when our youth skim on a screen whose lack of spatial thereness discourages “looking back.

In 1995, the gray wolf was reintroduced to Yellowstone National Park after a seventy-year hiatus. Scientists expected an ecological ripple effect, but the size and scope of the trophic cascade took them by surprise.7 Wolves are predators that kill certain species of animals, but they indirectly give life to others. When the wolves reentered the ecological equation, it radically changed the behavioral patterns of other wildlife. As the wolves began killing coyotes, the rabbit and mouse populations increased, thereby attracting more hawks, weasels, foxes, and badgers. In the absence of predators, deer had overpopulated the park and overgrazed parts of Yellowstone. Their new traffic patterns, however, allowed the flora and fauna to regenerate. The berries on those regenerated shrubs caused a spike in the bear population. In six years’ time, the trees in overgrazed parts of the park had quintupled in height. Bare valleys were reforested with aspen, willow, and cottonwood trees. And as soon as that happened, songbirds started nesting in the trees. Then beavers started chewing them down. Beavers are ecosystem engineers, building dams that create natural habitats for otters, muskrats, and ducks, as well as fish, reptiles, and amphibians. One last ripple effect. The wolves even changed the behavior of rivers—they meandered less because of less soil erosion. The channels narrowed and pools formed as the regenerated forests stabilized the riverbanks. My point? We need wolves! When you take the wolf out of the equation, there are unintended consequences. In the absence of danger, a sheep remains a sheep. And the same is true of men. The way we play the man is by overcoming overwhelming obstacles, by meeting daunting challenges. We may fear the wolf, but we also crave it. It’s what we want. It’s what we need. Picture a cage fight between a sheep and a wolf. The sheep doesn’t stand a chance, right? Unless there is a Shepherd. And I wonder if that’s why we play it safe instead of playing the man—we don’t trust the Shepherd. Playing the man starts there! Ecologists recently coined a wonderful new word. Invented in 2011, rewilding has a multiplicity of meanings. It’s resisting the urge to control nature. It’s the restoration of wilderness. It’s the reintroduction of animals back into their natural habitat. It’s an ecological term, but rewilding has spiritual implications. As I look at the Gospels, rewilding seems to be a subplot. The Pharisees were so civilized—too civilized. Their religion was nothing more than a stage play. They were wolves in sheep’s clothing.8 But Jesus taught a very different brand of spirituality. “Foxes have dens and birds have nests,” said Jesus, “but the Son of Man has no place to lay his head.”9 So Jesus spent the better part of three years camping, fishing, and hiking with His disciples. It seems to me Jesus was rewilding them. Jesus didn’t just teach them how to be fishers of men. Jesus taught them how to play the man! That was my goal with the Year of Discipleship,

Trapped by temperament and circumstance, Lincoln chose a way out, not with relief but with resignation. In early November, he went to his friend James Matheny and said to him, “Jim, I shall have to marry that girl.” Other incidents round out the picture of Lincoln’s attitude toward his matrimony. A boy who saw Lincoln dressing for his wedding asked him where he was going. Lincoln answered, “To Hell, I suppose.” According to Matheny, who was his best man, “Lincoln looked and acted as if he was going to the Slaughter.” Nevertheless, as he had advised Speed earlier in the year, he got through the ceremony calmly, at least calmly enough not to excite alarm in any present.

The third way is to use certain key phrases that paint a picture that runs counter to the worries and concerns that a typical high–action-threshold prospect ruminates on. Some examples of this are: “I’ll hold your hand every step of the way” … “We pride ourselves on long-term relationships” … “We have blue-chip customer service.

And that’s your chance to say, in the I care and I feel your pain tonality: “I get it, Bill. I’ve been around the block a couple of thousand times now, and I know that these things typically don’t resolve themselves unless you take serious action to resolve them. “In fact, let me say this: one of the true beauties here is that …,” and now you’re going to quickly resell the Three Tens, using a concise yet very powerful consolidation of the tertiary language patterns that you created for each of the Three Tens, which will focus almost exclusively on the emotional side of the equation—using the technique of future pacing to paint your prospect that all-important pain-free picture of the future, where he can actually see himself using your product and getting the exact benefits he was promised and feeling great as a result of that; and, from there, you’re going to transition directly into a soft close and ask for the order again.

My right hand was locked so tightly in a fist, it was starting to shake. My gaze was riveted to two people on the dancefloor, and it was taking every ounce of willpower I had to remain standing there in favour of destroying the man touching Darcy Vega. Seth Capella’s hands were roaming all over her as they danced like there was no one else here but them. They were staring at each other, exchanging flirtatious smiles and their mouths were getting all too close all too many times. Through the thump of the music and clamour of voices, it was difficult to focus on the words that passed between them, but I managed to catch a couple of sentences. “Fuck being enemies, I wanna be your friend tonight,” Seth purred in her ear, his fingers twisting into the blue ends of her hair and making me spit a snarl. Darcy laughed, clearly drunk as her fingers slid down his arm while his other hand dropped onto her ass, drawing her even closer and squeezing hard. No. “What kind of friends act like this?” she laughed again and he nuzzled the side of her head, a carnal look entering his eyes that made my canines sharpen. All rational thought was exiting my mind until I was nothing but an animal about to attack. I knew in that second I was going to do it. I was going to shoot over there, tear Seth Capella off of her and make him bleed for touching her like that. She was my gir- Source. “The best of friends,” he answered with a wolfish grin and I took a step forward, but suddenly Darius was there with a scowl the size of a Dragon’s tail, blocking my line of sight. “Well?” he demanded irritably like I’d just punched him in the cock. “Well what?” I sniped back and he frowned. “Oh right, yeah. We need to go hunting.” I gritted my teeth, crushing them to dust in my mouth as I forced my feet to move towards the exit, refusing to let myself look back. Darius walked stiffly at my side, seeming as pissed off as I did to be leaving and judging by how hard he’d been grinding himself against Tory Vega, I had to wonder if she was the reason. I glanced at my friend and caught him looking back. “What?” he snapped and I looked away again. “Nothing,” I grunted. “I’m just in the mood to kill something.” “Same. Let’s find the fucking Nymph and make it suffer.” His eyes turned to reptilian slits and a group of guys in our way scarpered aside as they saw us coming. I uncurled my still clenched right hand, my knuckles white as I flexed them and brought magic to my fingertips. Is she gonna go home with him? Is she gonna fuck him? She can’t. He’s a fucking Heir. The worst fucking Heir. The urge to go back was rising in me and I had to force my legs to keep moving away from that nightclub. There was a Nymph out here somewhere, that was my priority. Not whether or not Darcy Vega chose to fuck an Heir. My heart thumped a painful tune in my chest, continuing its plea with me to go back. To stop her from making the most stupid decision of her life. She was too good for that Wolf asshole. Too sweet. He didn’t deserve to get his hands on her flesh. I pictured her pinned beneath him and stopped dead in the street. (Orion POV)

figure of a mountain in the background of some picture that it is in reality as huge as an island, so I knew that I saw the thing only from far off—its wings beat, I think, against the proton winds of space, and all Urth might have been a mote disturbed by their motion. Then as I had seen it, so it saw me, much as the androgyne a moment before had seen the swirls and loops of writing on the steel through his glass. It paused and turned to me and opened its wings that I might observe them. They were marked with eyes.

I heard her earlier. She’s probably enjoying herself. She doesn’t really get much of a chance to let herself go in Ankh-Morpork.” “Er . . . no . . .” Vimes had a mental picture of a werewolf letting go. But surely, Angua wouldn’t— “You two, uh . . . you’re getting along okay, are you?” he said, trying to make out shapes in the darkness. “Oh, fine, sir. Fine.” So her turning into a wolf occasionally doesn’t worry you? Vimes couldn’t bring himself to say it. “No . . . problems, then?” “Oh, not really, sir. She buys her own dog biscuits and she’s got her own flap in the door. When it’s full moon I don’t really get involved.

Harvard physicist John Huth writes about the more universal importance of knowing where we are in time and space and what happens when we fail to connect the details of that knowledge into a larger picture. “Sadly, we often atomize knowledge32 into pieces that don’t have a home in a larger conceptual framework. When this happens, we surrender meaning to guardians of knowledge and it loses its personal value.

Paul Hawken here in The Embassy—in 1965 he was an outstanding activist, sweat shirts and blue jeans and toggle coats, went on the March from Selma, worked as a photographer for CORE in Mississippi, risked his life to take pictures of Negro working conditions, and so on. Now he’s got on a great Hussar’s coat with gold frogging. His hair is all over his forehead and coming around his neck in terrific black Mykonos curls. “I take it you aren’t too tight with CORE any more.” He just laughs.

Fair enough. I know the kind of sweet she is. Grew up with it. She’s sweet like poison.” Three things happened at once—because the universe and our electricity grid fucking hated me: I gasped at a volume that wasn’t the least bit discreet, the light flooded both me and the rest of the yard, and my sternum caved in from the force of Lachlan’s judgment. Sweet like poison. …like poison. Poison. They were looking at me. What a picture we were, all of us too stunned to move. Time suspended. Lachlan’s harsh words hung in the air like daggers poised to do serious damage.

When Leeli closed her eyes and inhaled the pleasant musk of the many hounds and felt their noses nudging her shoulder and shins, she recalled the look on Nugget's face as he clawed at the Fangs on Miller's Bridge. His courage was as big as the world, and when he died a bit of the world died with him. Yet here she was, months later, on another terrible day, experiencing a miraculous lightening of her heart's burden at the memory of Nugget's selfless act. It was as if a strand connected that day with this one, and the Maker's pleasure was coursing through it like blood in a vein. Then she thought of this one battle, in which there were countless acts of heroism, sacrifice, and honor, which were seen and would be remembered long after the heroes died and became points of light in a dark sky connected by memories like constellations, each of which painted a picture that all the darkness of the universe could never quench. Light danced along the strands. Gnag couldn't stop it in a million epochs. Leeli grieved but knew, in a way she couldn't explain, that her grief would lead to something good.

I’m here to tell the scene’s narrative, to paint the gruesome picture of an offender who is methodical enough to dissect thirty-three pairs of eyes and string them to eerie trees in the middle of a killing field.

Each picture in the room beyond contained a book. Sometimes they were many, or prominent; some I had to study for some time before I saw the corner of a binding thrusting from the pocket of a woman’s skirt or realized that some strangely wrought spool held words spun like thread.

You took naked pictures of me, Asher! Why? I thought that night couldn’t be ruined any more, and yet…” She covered her mouth as she choked back a sob, but still, she didn’t cry. “You didn’t have to do that to Elijah. I get that you hate me for some reason, but he’s done nothing to you.” The second she said his name, defending him, I saw red. Motherfucking crimson. My hold on her hands tightened until she whimpered. “That kid back there who just called you a cunt? That’s who you’re worried about?” I shook my head, spitting my disgust on the pavement beside the car. “Your head is twisted. More than I even thought. You don’t mean shit to that kid. The second he found out you’d chosen someone else, you became nothing to him. And yet, here you sit, worried for him, when you should be on your knees for me.” Our gazes clashed, igniting a wildfire between us. Waves of heat and hate rose in the air, the silence deafening. My heart thrashed wildly in my chest as my fury transformed into disgust.

The straw that broke my back and had me shutting down my phone for good was a text from a number I didn’t know reminding me to eat. That one could have only come from Asher Beck. Then he confirmed it by sending a picture of his smiling face with my sleeping body in the background. I’d tossed my phone across my bed like it was haunted.

And the naked pics?” “A mistake,” I muttered. “You knew about the pictures?” “No. Absolutely not.” A deep rumbling sound rattled Gabe’s chest. “Shit, I always thought Beck was uptight, but low key, kinda cool. Taking your naked pics is just…” He shook his head hard. “Uncool?” I supplied. “Yeah. I’m gonna talk to him. He’ll delete them.

My chest caved in at the flood of memories that hit me all at once. The last time I met Parker at the beach, he let me take pictures of him. He’d rolled in the sand and smiled at the sun, happier and more alive than I’d seen him in forever. That was two years ago, and even then, I knew he was high. He wasn’t elated to spend the day with me on the beach. His brain chemistry had been altered enough to make him feel like he was enjoying himself, but it wasn’t real.

The L word I’d never had any use for was now stamped to the inside of my skull with her name scrawled beneath it beside a picture of a tiny dick with a smiley face and a wavey hand.

To: catherinewarner@levydevelopment.com From: elliotlevy@levydevelopment.com Catherine, Congratulations on the arrival of your daughter, Josephine. I was told by Raymond and Davida you were goddess-like when bringing her into the world, which I don’t doubt. I’m also not surprised you managed to give birth in an efficient amount of time. Ten hours of labor should be applauded. Not too long or too short. Good going. I’ve seen pictures of Josephine, and she’s as lovely as expected. Good going on that too. Please let me know if you need anything, and I’ll be happy to provide it. Yours, Elliot

The wolf does not attack humans,

I loved her. I was in love with her. The L word I’d never had any use for was now stamped to the inside of my skull with her name scrawled beneath it beside a picture of a tiny dick with a smiley face and a wavey hand. It was my happy place. Rosalie now dominated it over the tiny dick smiler I usually turned to when I needed to raise my spirits. But I didn’t need that friendly dick anymore, I had something much, much better than him. I had love.

The Soviets persisted in offering no information as to the Chief Designer’s identity. For that matter, they identified no one involved in Gagarin’s flight other than Gagarin himself. Nor did they offer any pictures of the rocket or even such elementary data as its length and its rocket thrust. Far from casting any doubt as to the capabilities of the Soviet program, this policy seemed only to inflame the imagination. The Integral! Secrecy was by now accepted as “the Russian way.” Whatever the CIA might have been able to do in other parts of the world, in the Soviet Union they drew a blank. Intelligence about the Soviet space program remained very sketchy. Only two things were known: the Soviets were capable of launching a vehicle of tremendous weight, five tons; and whatever goal NASA set for itself, the Soviet Union reached it first. Using those two pieces of information, everyone in the government, from President Kennedy to Bob Gilruth, seemed to experience an involuntary leap of the imagination similar to that of the ancients … who used to look into the sky and see a clump of stars, sparks in the night, and deduce therefrom the contours of … an enormous bear! … the constellation Ursa Major! … On the evening of Gagarin’s flight, April 12, 1961, President Kennedy summoned James E. Webb and Hugh Dryden, Webb’s deputy administrator and NASA’s highest-ranking engineer, to the White House; they met in the Cabinet room and they all stared into the polished walnut surface of the great conference table and saw … the mighty Integral! … and the Builder!—the Chief Designer! … who was laughing at them … and it was awesome!

Here we had the ideal suspect in a classic whodunit mystery, the person least likely to commit a murder, I thought. She is a picture of fresh-faced innocence—in other words, the perfect killer.

For the one-hundred-and-eleventh day, I arrived at the office at eight a.m., sat down at my desk, flipped open a notepad, and neatly wrote Elliot Levy’s schedule in black ink. And at the bottom, following the notation for his last meeting of the day, I included a postscript—which I’d been doing for a hundred and one days. Yesterday’s had been: P.S. Are you even human? The day before: P.S. You remind me of porridge. Today’s: P.S. You’re intolerable. Then, like I always did, I precisely sliced that strip off the bottom, slid it inside an envelope with all one hundred and one of the others, and returned it to its place at the back of my desk drawer beneath my box of tampons. In my current condition, I absolutely did not need them, but I’d found tampons were the best deterrent for most men. Though I regularly questioned if Elliot was a cyborg, I couldn’t picture him willingly touching feminine hygiene products either. This was my only form of rebellion. Those postscripts allowed me to release a tiny drip of the anger I swallowed down on a daily basis. When Elliot’s demands became unbearable, I took out my envelope, ran my fingers over the one-inch strips of “fuck you very much,” and immediately calmed. The therapist I’d been forced to see when I was a teen would have been proud…ish.

Elliot, Only you would praise me for my efficiency in childbirth. I wish I could take the credit, but I had no idea what I was doing, so I think we can both agree it was just luck—and there was nothing goddess-like about it. I am cringing thinking about which pictures Davida might have shown you. There weren’t any of me, were there? I’m really hoping you’ll tell me you only saw my Joey-Girl. Please tell me she didn’t send you any pics of the emergence. I’ll never be able to look at you again if she did. Thank you for saying she’s lovely. She really is, isn’t she? Yours, Catherine P.S. I’m sorry if I’ve said anything unprofessional in this email. I’m running on no sleep and might be slightly delirious. Please disregard anything that might get me reported to HR.

This was the Gamaches’ Sunday ritual. In lives so unpredictable, they found sanctuary in certainty. Even if just for a moment. Life was, after all, made up of tiny choices. Like a pointillist painting, no one dot, no one choice, defined it. But together? There emerged a picture. A life. Where to live, where to sit. What to eat, to drink, to wear. Whether to cut the grass or let it become meadow. What to say and, perhaps more important, what not to say. What job to take. What calling.

The mouse is a picture of the restless, nervous intellect, which cannot find the quiet depth of true insight.

Don’t you find,” he said, “judging from his picture, that his eyes are full of tears and that his lips are sad with a secret sorrow?

I tried picturing all those places on that map of BeeCee. That’s what we call our country now, just letters of its real name what most people have forgot or don’t care to remember. The map said that old name behind all the scribblings, all the new borders and territories my nana drawn on, but I could only read letters then, not whole words. All I know is that one day all the maps became useless and we had to make our own. The old’uns called that day the Fall or the Reformation. Nana said some down in the far south called it Rapture. Nana was a babe when it happened, said her momma called it the Big Damn Stupid. Set everything back to zero. I never asked why, never much cared. Life is life and you got to live it in the here-now not the back-then. And the here-now for little me was the Thick Woods, with night coming fast. I

I sat up high, oak branch ’tween my knees, and watched the tattooed man stride about in the snow. Pictures all over his face, no skin left no more, just ink and blood. Looking for me, he was. Always looking for me. He left red drops in the white, fallen from his fish knife. Not fish blood though. Man blood. Boy blood. Lad from Tucket lost his scalp to that knife. Scrap of hair and pink hung from the man’s belt. That was dripping too, hot and fresh. He’d left the body in the thicket for the wolves to find. I

Thus they were speaking when the thunderous voice came. So mighty it was that it filled every hall and chamber of the palace; and its first word dashed the pictures from the walls so that their crash and smash added to the roar, though they were lost in it. Its second word broke all the crockery in the palace and set the shards to sliding like screes of stones, so that they burst open cabinets and cupboards and descended to the floors in avalanches. Its third word toppled all the statues along the broad avenue that led up to the Great Gate; its fourth stopped the fountain and snapped off both arms of the marble nymph who blessed the waters; and its fifth cracked the basin itself. Its sixth, seventh, and eighth words maddened every cat in the place, struck dead seventeen bat-winged black rooks of the flock that swept the sky about the Grand Campanile, and set all the bells to ringing. Its ninth soured every cask in the cellars, while its tenth word stove them in. Its eleventh stopped the clocks and started the hounds to howling. Its twelfth and last (which was an especially big word) knocked the Dwarves off their feet and sent every one of them rolling and somersaulting amongst all their foulnesses while they held their ears and screeched. And what that voice said was, “What vermin are these who dare defile the body of a Giant?” Oh, my friends! Let us of this star, who are ourselves but Dwarves, heed well the warning.

Ah! said the doctor, in his most complacent manner, "here is the opportunity I have long been waiting for. I have often desired to test and taste the indian mode of cooking. What do you suppose this is?" holding up the dripping morsel. Unable to obtain the desired information, the doctor, whose naturally good appetite had been sensibly sharpened by his recent exercise á la quadrupède, set to with a will and ate heartily of the mysterious contents of the kettle. "What can this be?" again inquired the doctor. He was only satisfied on one point, that it was delicious - a dish fit for a king. Just then Gurrier, the half-breed, entered the lodge. He could solve the mystery, having spent years among the Indians. To him the doctor appealed for information. Fishing out a huge piece and attacking it with the voracity of a hungry wolf, he was not long in determining what the doctor had supped so heartily upon. His first words settled the mystery: "Why this is dog." I will not attempt to repeat the few but emphatic words uttered by the headily disgusted member of the medical fraternity as he rushed from the lodge.

my knees, and watched the tattooed man stride about in the snow. Pictures all over his face, no skin left no more, just ink and blood. Looking for me,

The memory made me realize my left wrist was aching. In fact, that might have been what woke me up in the first place. I was lying on my right side so I brought my left wrist up in front of me and squinted in the dim room, trying to see the problem. Nothing seemed to be broken but it throbbed painfully. Great—so I wasn’t going to be getting much work done today—good thing it was the weekend. But something told me that my injury might have been much worse. If it wasn’t for her… Her, whispered a voice in my brain, the voice of the wolf. Pale girl. A picture formed in my head. A girl with long, dark hair and deep blue eyes. She was beautiful and very kind, the wolf informed me, through more picture messages. She took away the pain. She gave delicious food. She smelled right—like a wolf, not a dead one. She was pack. I shook my head in disbelief. Was I seriously understanding the other side of my nature correctly? I had been certain that the wolf inside me would hate Taylor—she was a fucking vampire, for God’s sake—the ancient enemy of our kind. I had been afraid to change around her—afraid the wolf would hurt her. Instead, it seemed my furry self wanted to adopt her, to claim her as part of the family. She is pack, the wolf affirmed in my head. What the hell? How had Taylor won over my inner wolf so completely and quickly? A flood of images was my answer—Taylor leading the wolf inside the house, taking away the silver pain thing that had been biting his/ my paw/ arm. Then feeding him-me bacon (delicious man-food! the Wolf sent excitedly) and curling up close to him/ me in bed, sharing rest and comfort the way pack members do.

I said I could probably come over later that evening, and she said: “You’re so lucky you have cool parents,” and I pictured my parents: how they looked at me now that my hair was long, how they looked at each other a lot when they were talking to me. How obvious it seemed to me that somewhere along the line our paths had forked, and now we were on different tracks looking at each other across a distance that would soon be infinite. Cool parents, I thought, are the ones who know nothing.