Wooden Boards With Quotes

I built up these lumber piles of love, and with fourteen boards each I built little houses, so that your eyes, which I adore and sing to, might live in them. Now that I have declared the foundations of my love, I surrender this century to you: wooden sonnets that rise only because you gave them life.

The beautiful wooden board on a stand in my father’s study. The gleaming ivory pieces. The stern king. The haughty queen. The noble knight. The pious bishop. And the game itself, the way each piece contributed its individual power to the whole. It was simple. It was complex. It was savage; it was elegant. It was a dance; it was a war. It was finite and eternal. It was life.

I found myself thinking of an ocean running beneath the whole universe, like the dark seawater that laps beneath the wooden boards of an old pier: an ocean that stretches from forever to forever and is still small enough to fit inside a bucket, if you have Old Mrs. Hempstock to help you get it in there, and you ask nicely.

Volcano surfing is a sport in which a person rides down an active volcano at speeds up to 50 miles per hour using nothing but a wooden board. When I heard about this activity, I thought to myself, it must be nice to feel so safe, you have to invent new ways to put yourself in danger.

I walked in without knocking. The screen door banged to a close behind me announcing my presence. I followed my nose to the kitchen and found Kaleb standing by the stove. He stirred something that smelled absolutely delicious a wooden spoon in one hand and a huge chef’s knife in the other. “Are you sober?” I asked from the doorway. He turned and leveled a smile at me that made me a little wobbly. “I am." “Good. Because if not I was going to take the deadly kitchen utensil away from you.” I crossed the room and pulled myself up to sit on the counter beside the stove. A cutting board full of green peppers and two uncut stalks of celery waited for attention from the knife. Melted butter and diced onions bubbled in a sauté pan on the stove. “You cook." Kaleb was so pretty I was jealous. Pretty with ripped muscles and a tattoo of a red dragon covering most of his upper body. “Yes,” he said. “I cook.” “Do you usually wear a wife beater and,” I pushed him back a little by his shoulder “an apron that says ‘Kiss the Cook’ while you’re doing it? ” He leaned so close to me my heart skipped a couple of beats. “I’ll wear it all the time if you’ll consider it.

I made these sonnets out of wood; I gave them the sound of that opaque pure substance, and that is how they should reach your ears. Walking in forests or on beaches, along hidden lakes, in latitudes sprinkled with ashes, you and I have picked up pieces of pure bark, pieces of wood subject to the comings and goings of water and the weather. Out of such softened relics, then, with hatchet and machete and pocketknife, I built up these lumber piles of love, and with fourteen boards each I built little houses, so that your eyes, which I adore and sing to, might live in them. Now that I have declared the foundations of my love, I surrender this century to you: wooden sonnets that rise only because you gave them life.

There was a man who sat each day looking out through a narrow vertical opening where a single board had been removed from a tall wooden fence. Each day a wild ass of the desert passed outside the fence and across the narrow opening—first the nose, then the head, the forelegs, the long brown back, the hindlegs, and lastly the tail. One day, the man leaped to his feet with the light of discovery in his eyes and he shouted for all who could hear him: “It is obvious! The nose causes the tail!

There are times when a man should sleep entwined in the warm flesh of a woman, his flanks plummeting into the perfumed bedding while she lovingly rolls her sweet shoulders into his chest. Whereas, there are times to be stoic and solitary—sleeping alone on a wooden board with twill sheets and splinters that scratch the skin.

The winter light, tinted by the bright colors in the street, plays on the go-board. All these festivities cut me off from the rest of the world. My loneliness is like a bolt of crimson silk stowed in the bottom of a wooden chest.

A word about TV: If a television is on, an infant will stare at it. This is not a sign of advanced development. TV entertains at a cost. Young children easily become dependent on the TV for stimulation and lose some of their natural drive to explore. A child with a plastic cup and spoon, a few wooden blocks, and a board book can think up fifty creative ways to use those objects; a child in front of a TV can only do one thing.

Large portraits of Mao on wooden boards several feet high stood at main street corners. Painted to make the old man look extremely youthful, healthy, and fat (a sign of well-being in China), these pictures provided a mocking contrast to the thin, pale-faced pedestrians walking listlessly below them.

Cooking was magic and music combined. The crack of shells, the hiss of pancetta hitting a hot pan, the metallic clang of a whisk beating the side of a bowl, even the rythmic thwack of a cleaver against a wooden cutting board.

You're crossing the ocean on a wooden ship. One of the boards rots, so you replace it with another that you've stored on your hold. It is still the same ship? Most people will agree that it is. But what if, bit by bit, as you make your journey, your ships sustains more and more damage, so that by the time you reach your destination, you have substituted each piece with its counterpart and not a single piece remains unreplaced. Now is it the same ship? Why or why not? How much of a thing is its pattern and how much its physical material? I was fascinated by the question of wether and how long you could remain the same person after casting off part of your body or, for that matter, after casting part of your history, part of your personality, part of your life.

Are you smarter than my chicken?” cried a weathered, wild-haired woman holding a nonplussed bird over her head. At her feet was a wooden board covered with numbers and arcane symbols. “Lay your bets! Test your wits against a trained fowl! One coppin a try! Are you smarter than my chicken? You might be in for a surprise!

My mouth blooms like a cut. I've been wronged all year, tedious nights, nothing but rough elbows in them and delicate boxes of Kleenex calling crybaby crybaby, you fool! Before today my body was useless. Now it's tearing at its square corners. It's tearing old Mary's garments off, knot by knot and see - Now it's shot full of these electric bolts. Zing! A resurrection! Once it was a boat, quite wooden and with no business, no salt water under it and in need of some paint. It was no more than a group of boards. But you hoisted her, rigged her. She's been elected. My nerves are turned on. I hear them like musical instruments. Where there was silence the drums, the strings are incurably playing. You did this. Pure genius at work. Darling, the composer has stepped into fire.

[I] threw open the door to find Rob sit­ting on the low stool in front of my book­case, sur­round­ed by card­board box­es. He was seal­ing the last one up with tape and string. There were eight box­es - eight box­es of my books bound up and ready for the base­ment! "He looked up and said, 'Hel­lo, dar­ling. Don't mind the mess, the care­tak­er said he'd help me car­ry these down to the base­ment.' He nod­ded to­wards my book­shelves and said, 'Don't they look won­der­ful?' "Well, there were no words! I was too ap­palled to speak. Sid­ney, ev­ery sin­gle shelf - where my books had stood - was filled with ath­let­ic tro­phies: sil­ver cups, gold cups, blue rosettes, red rib­bons. There were awards for ev­ery game that could pos­si­bly be played with a wood­en ob­ject: crick­et bats, squash rac­quets, ten­nis rac­quets, oars, golf clubs, ping-​pong bats, bows and ar­rows, snook­er cues, lacrosse sticks, hock­ey sticks and po­lo mal­lets. There were stat­ues for ev­ery­thing a man could jump over, ei­ther by him­self or on a horse. Next came the framed cer­tificates - for shoot­ing the most birds on such and such a date, for First Place in run­ning races, for Last Man Stand­ing in some filthy tug of war against Scot­land. "All I could do was scream, 'How dare you! What have you DONE?! Put my books back!' "Well, that's how it start­ed. Even­tu­al­ly, I said some­thing to the ef­fect that I could nev­er mar­ry a man whose idea of bliss was to strike out at lit­tle balls and lit­tle birds. Rob coun­tered with re­marks about damned blue­stock­ings and shrews. And it all de­gen­er­at­ed from there - the on­ly thought we prob­ably had in com­mon was, What the hell have we talked about for the last four months? What, in­deed? He huffed and puffed and snort­ed and left. And I un­packed my books.

It was all so meaningless when I looked at it that way. It was meaningless in the same way as when I stood up from a game and then looked down on the scatter of playing pieces, and realized that they all were just bits of polished stone on a wooden board marked with squares. All the meaning they'd had moments before when I'd been trying to win a game were meanings that I'd imbued them with. Of themselves, neither they nor the board had any significance.

The house remembered her. Laurel did not consider herself a romantic, but the sense was so strong that for a moment she had no trouble believing that the combination before her of wooden boards and red chimney bricks, or dappled roof tiles and gabled windows at odd angles, was capable of remembrance.

She knew them by their thick woven cloaks, their hanging hair and beards, and their Anglisc voices: words drumming like apples spilt over wooden boards, round, rich, stirring. Like her father’s words, and her mother’s, and her sister’s. Utterly unlike Onnen’s otter-swift British or the dark liquid gleam of Irish. Hild spoke each to each. Apples to apples, otter to otter, gleam to gleam, though only when her mother wasn’t there.

After several minutes, Trina finally stopped in front of a small shack that had been boarded up with three wooden slats nailed across the door. From the outside. Someone had been imprisoned. And that someone was screaming.

These were colours he'd never ever seen before; ones he couldn't possibly begin to name. Here, to his left, was a wooden clock, and it was painted, well not exactly green, but a colour that green might like to be if it had any imagination at all. And over there, beside the wooden board game whose overriding colour was not red, but something that red might look at enviously, blushing with embarrassment at its own dull appearance. And the wooden letter sets, well, there were those who might have said that they were painted yellow and blue, but they would have said this knowing that such plain words were an outrageous insult to the colouring on the letters themselves.

I still find myself reaching out and knocking twice on our wooden cutting board. Because you can never be too sure when it comes to the things that matter most.

Wraithlike girls with perilous clavicles drifted through the room, their footsteps mere whispers against the dark wooden boards.

Anglisc voices: words drumming like apples split over wooden boards, round, rich, stirring. Like her father's words, and her mother's, and her sister's. Utterly unlike Onnen's otter-swift British or the dark liquid gleam of Irish.

now, I am doing penance for my selfishness. Who knew I’d see the world through the drain of an old sink and across the surface of a wooden chopping board? But here it is, and here I am. In my zeal to be a part of a grand adventure, I traded my mother’s kitchen for this one.” Sister

Taking Off Emily Dickinson’s Clothes" First, her tippet made of tulle, easily lifted off her shoulders and laid on the back of a wooden chair. And her bonnet, the bow undone with a light forward pull. Then the long white dress, a more complicated matter with mother-of-pearl buttons down the back, so tiny and numerous that it takes forever before my hands can part the fabric, like a swimmer’s dividing water, and slip inside. You will want to know that she was standing by an open window in an upstairs bedroom, motionless, a little wide-eyed, looking out at the orchard below, the white dress puddled at her feet on the wide-board, hardwood floor. The complexity of women’s undergarments in nineteenth-century America is not to be waved off, and I proceeded like a polar explorer through clips, clasps, and moorings, catches, straps, and whalebone stays, sailing toward the iceberg of her nakedness. Later, I wrote in a notebook it was like riding a swan into the night, but, of course, I cannot tell you everything— the way she closed her eyes to the orchard, how her hair tumbled free of its pins, how there were sudden dashes whenever we spoke. What I can tell you is it was terribly quiet in Amherst that Sabbath afternoon, nothing but a carriage passing the house, a fly buzzing in a windowpane. So I could plainly hear her inhale when I undid the very top hook-and-eye fastener of her corset and I could hear her sigh when finally it was unloosed, the way some readers sigh when they realize that Hope has feathers, that Reason is a plank, that Life is a loaded gun that looks right at you with a yellow eye.

Creamy-looking custards were followed by beautifully decorated slices of cake. Crisp-shelled pastries were set down next to gooey-centered pies. Dainty little goblets featuring ice cream and sorbet came out on a silver tray, and a pungent aroma rose off a long wooden board that was dotted with more kinds of cheese than Gladys had ever seen,

The Little Ship Have your forgotten the ship love I made as a childish toy, When you were a little girl love, And I was a little boy?   Ah! never in all the fleet love Such a beautiful ship was seen, For the sides were painted blue love And the deck was yellow and green.   I carved a wonderful mast love From my Father’s Sunday stick, You cut up your one good dress love That the sail should be of silk.   And I launched it on the pond love And I called it after you, And for the want of the bottle of wine love We christened it with the dew.   And we put your doll on board love With a cargo of chocolate cream, But the little ship struck on a cork love And the doll went down with a scream!   It is forty years since then love And your hair is silver grey, And we sit in our old armchairs love And we watch our children play.   And I have a wooden leg love And the title of K. C. B. For bringing Her Majesty’s Fleet love Over the stormy sea.   But I’ve never forgotten the ship love I made as a childish toy When you were a little girl love And I was a sailor boy.

Margherita was not allowed to play in the 'portego,' for one never knew when a customer would come, and the room must always be clean and tidy and respectable. It was only ever used by the family on special occasions, and so Margherita's eyes widened when she saw that her mother had spread the table with a spotless white cloth and the best pewter bowls and mugs. A small bunch of 'margherita' daisies was in a fat blue jug, and three sweet oranges sat in an earthenware bowl. Coarse brown bread stood ready on a wooden board, next to a bowl of soft white cheese floating in golden oil and thyme sprigs. Soup made with fish and clams and fennel and scattered with sprigs of fresh parsley steamed in a big clay pot.

I was around her age when I began. The beautiful wooden board on a stand in my father’s study. The gleaming ivory pieces. The stern king. The haughty queen. The noble knight. The pious bishop. And the game itself, the way each piece contributed its individual power to the whole. It was simple. It was complex. It was savage; it was elegant. It was a dance; it was a war. It was finite and eternal. It was life.

Children there rowed boats, climbed trees, picked mussels, ending every summer day cleaned up and carrying the ice in the silver bucket, the Goldfish crackers, and the Scotch, down to the dock at six, where they’d stand ranged along the splintering wooden boards looking down at the white bodies of the flashing fish, while the grown-ups behind them drank as the sun fell into the sea. The Miltons of Crockett’s Island.

There were some hours to spare before his ship sailed, and having deposited his luggage, including a locked leather despatch-case, on board, he lunched at the Cafe Tewfik near the quay. There was a garden in front of it with palm trees and trellises gaily clad in bougainvillias: a low wooden rail separated it from the street, and Morris had a table close to this. As he ate he watched the polychromatic pageant of Eastern life passing by: there were Egyptian officials in broad-cloth frock coats and red fezzes; barefooted splay-toed fellahin in blue gabardines; veiled women in white making stealthy eyes at passers-by; half-naked gutter-snipe, one with a sprig of scarlet hibiscus behind his ear; travellers from India with solar tepees and an air of aloof British Superiority; dishevelled sons of the Prophet in green turbans, a stately sheik in a white burnous; French painted ladies of a professional class with lace-rimmed parasols and provocative glances; a wild-eyed dervish in an accordion-pleated skirt, chewing betel-nut and slightly foaming at the mouth. A Greek boot-black with box adorned with brass plaques tapped his brushes on it to encourage customers, an Egyptian girl squatted in the gutter beside a gramophone, steamers passing into the Canal hooted on their syrens. ("Monkeys")

I do not know how old I was when I learned to play chess. I could not have been older than eight, because I still have a chessboard on whose side my father inscribed, with a soldering iron, “Saša Hemon 1972.” I loved the board more than chess—it was one of the first things I owned. Its materiality was enchanting to me: the smell of burnt wood that lingered long after my father had branded it; the rattle of the thickly varnished pieces inside, the smacking sound they made when I put them down, the board’s hollow wooden echo. I can even recall the taste—the queen’s tip was pleasantly suckable; the pawns’ round heads, not unlike nipples, were sweet. The board is still at our place in Sarajevo, and, even if I haven’t played a game on it in decades, it is still my most cherished possession, providing incontrovertible evidence that there once lived a boy who used to be me.

Stevie had great hopes for the boarding school dining hall. She knew better than to hope for floating candlesticks and ghosts, but long wooden tables didn't seem out of the question. Long tables were also featured in so may murder mysteries, when all the guests of the house were arranged, eyeing each other over their wineglasses, wondering who Lord Dudley was going to put in his will or who might have killed Ratchets with the golf club.

And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!

Pete Berman sized up his competition like a predator lining up its prey. Gerry Williams dribbled once with his left hand, stopped on a dime, and nailed an open 15-footer. He had played on the Fellingwood Varsity Basketball Team since his freshman year, and was now a 16 year-old boy in a man's body. Pete sat on a board of the old splinter-ridden, wooden stands fixed on Gerry, but he was unable to defend his turf. His team was losing badly again, and the waiting was pure agony.

Why do we bury our dead?” His nose was dented in at the bridge like a sphinx; the cause of which I could only imagine had been a freak archaeological accident. I thought about my parents. They had requested in their will that they be buried side by side in a tiny cemetery a few miles from our house. “Because it’s respectful?” He shook his head. “That’s true, but that’s not the reason we do it.” But that was the reason we buried people, wasn’t it? After gazing at him in confusion, I raised my hand, determined to get the right answer. “Because leaving people out in the open is unsanitary.” Mr. B. shook his head and scratched the stubble on his neck. I glared at him, annoyed at his ignorance and certain that my responses were correct. “Because it’s the best way to dispose of a body?” Mr. B. laughed. “Oh, but that’s not true. Think of all the creative ways mass murderers have dealt with body disposal. Surely eating someone would be more practical than the coffin, the ceremony, the tombstone.” Eleanor grimaced at the morbid image, and the mention of mass murderers seemed to wake the rest of the class up. Still, no one had an answer. I’d heard Mr. B. was a quack, but this was just insulting. How dare he presume that I didn’t know what burials meant? I’d watched them bury my parents, hadn’t I? “Because that’s just what we do,” I blurted out. “We bury people when they die. Why does there have to be a reason for everything?” “Exactly!” Mr. B. grabbed the pencil from behind his ear and began gesticulating with it. “We’ve forgotten why we bury people. “Imagine you’re living in ancient times. Your father dies. Would you randomly decide to put him inside a six-sided wooden box, nail it shut, then bury it six feet below the earth? These decisions aren’t arbitrary, people. Why a six-sided box? And why six feet below the earth? And why a box in the first place? And why did every society throughout history create a specific, ritualistic way of disposing of their dead?” No one answered. But just as Mr. B. was about to continue, there was a knock on the door. Everyone turned to see Mrs. Lynch poke her head in. “Professor Bliss, the headmistress would like to see Brett Steyers in her office. As a matter of urgency.” Professor Bliss nodded, and Brett grabbed his bag and stood up, his chair scraping against the floor as he left. After the door closed, Mr. B. drew a terrible picture of a mummy on the board, which looked more like a hairy stick figure. “The Egyptians used to remove the brains of their dead before mummification. Now, why on earth would they do that?” There was a vacant silence. “Think, people! There must be a reason. Why the brain? What were they trying to preserve?” When no one answered, he answered his own question. “The mind!” he said, exasperated. “The soul!” As much as I had planned on paying attention and participating in class, I spent the majority of the period passing notes with Eleanor. For all of his enthusiasm, Professor Bliss was repetitive and obsessed with death and immortality. When he faced the board to draw the hieroglyphic symbol for Ra, I read the note Eleanor had written me. Who is cuter? A. Professor Bliss B. Brett Steyers C. Dante Berlin D. The mummy I laughed. My hand wavered between B and C for the briefest moment. I wasn’t sure if you could really call Dante cute. Devastatingly handsome and mysterious would be the more appropriate description. Instead I circled option D. Next to it I wrote Obviously! and tossed it onto her desk when no one was looking.

He didn’t want to think; thinking was worse than physical pain, but everything flooded back, everything went round and round in his head endlessly: being called back from leave on 15 May, those four days in Angers, no trains running any more, soldiers lying on wooden boards, being bitten by insects, then the air raids, the bombings, the battle of Rethel, the retreat, the battle of the Somme, another retreat, days when they had fled from city to city, without officers, without orders, without weapons, and finally the train compartment in flames.

My fingers clutch the wooden edges of the podium. “My sister, Isabelle, was a woman of great passions,” I say quietly at first. “Everything she did, she did full speed ahead, no brakes. When she was little, we worried about her constantly. She was always running away from boarding schools and convents and finishing school, sneaking out of windows and onto trains. I thought she was reckless and irresponsible and almost too beautiful to look at. And during the war, she used that against me. She told me that she was running off to Paris to have an affair, and I believed her.

That day in Chartres they had passed through town and watched women kneeling at the edge of the water, pounding clothes against a flat, wooden board. Yves had watched them for a long time. They had wandered up and down the old crooked streets, in the hot sun; Eric remembered a lizard darting across a wall; and everywhere the cathedral pursued them. It is impossible to be in that town and not be in the shadow of those great towers; impossible to find oneself on those plains and not be troubled by that cruel and elegant, dogmatic and pagan presence. The town was full of tourists, with their cameras, their three-quarter coats, bright flowered dresses and shirts, their children, college insignia, Panama hats, sharp, nasal cries, and automobiles crawling like monstrous gleaming bugs over the laming, cobblestoned streets. Tourist buses, from Holland, from Denmark, from Germany, stood in the square before the cathedral. Tow-haired boys and girls, earnest, carrying knapsacks, wearing khaki-colored shorts, with heavy buttocks and thighs, wandered dully through the town. American soldiers, some in uniform, some in civilian clothes, leaned over bridges, entered bistros in strident, uneasy, smiling packs, circled displays of colored post cards, and picked up meretricious mementos, of a sacred character. All of the beauty of the town, all the energy of the plains, and all the power and dignity of the people seemed to have been sucked out of them by the cathedral. It was as though the cathedral demanded, and received, a perpetual, living sacrifice. It towered over the town, more like an affliction than a blessing, and made everything seem, by comparison with itself, wretched and makeshift indeed. The houses in which the people lived did not suggest shelter, or safety. The great shadow which lay over them revealed them as mere doomed bits of wood and mineral, set down in the path of a hurricane which, presently, would blow them into eternity. And this shadow lay heavy on the people, too. They seemed stunted and misshapen; the only color in their faces suggested too much bad wine and too little sun; even the children seemed to have been hatched in a cellar. It was a town like some towns in the American South, frozen in its history as Lot's wife was trapped in salt, and doomed, therefore, as its history, that overwhelming, omnipresent gift of God, could not be questioned, to be the property of the gray, unquestioning mediocre.

Order number one, which came first and last, was: Hold on to the raft! Whatever happened, we must hang on tight on board and let the nine great logs take the pressure from the reef. We ourselves had more than enough to do to withstand the weight of the water. If we jumped overboard, we should become helpless victims of the suction which would fling us in and out over the sharp corals. The rubber raft would capsize in the steep seas or, heavily loaded with us in it, it would be torn to ribbons against the reef. But the wooden logs would sooner or later be cast ashore, and we with them, if we only managed to hold fast.

The same solution--that Easter Island was once part of a much larger landmass--would also explain another, very different puzzle, namely the so-called Rongo Rongo script. It is unprecedented in human history for a sophisticated fully developed writing system to be invented and put into use by a small, isolated island community. Yet Easter Island does have its own script, examples of which, mostly incised on wooden boards, copies of copies of copies of much older lost originals, were collected in the nineteenth century and have found their way into a number of museums around the world. None remain on Easter Island itself and even in the period when they were collected no native Easter Islanders were able to read them.

Eager to reestablish their brand as the “King of Beers,” the company’s board of directors had authorized August Jr., the superintendent of the brewery, to buy several teams of Clydesdale draft horses “for advertising purposes.” Gussie, as he was called, purchased sixteen of the massive 2,000-pound animals for $21,000 at the Kansas City stockyards. He also found two wooden wagons from back in the days when the company employed eight hundred teams of horses to deliver its beer, and set about having them restored to the exacting standards of his late grandfather, brewery founder Adolphus Busch, who liked to conduct weekly inspections from a viewing stand, with his son August at his side as all the drivers passed in parade, hoping to win the $25 prize for the best-kept team and wagon.

The girl was staring at the muddy river as if it were sweeping away her memories. Corso saw her smile, thoughtfully, absently. "I never knew an impartial god. Or devil." She turned to him suddenly - her earlier thoughts seemed to have washed downstream. "Do you believe in the Devil, Corso?" He looked at her intently, but the river had also swept away the images that had filled her eyes seconds before. All he could see there now was liquid green, and light. “I believe in stupidity and ignorance.” He smiled wearily at the girl. They had continued walking and were now on the wooden boards of the Pont des Arts. The girl stopped and leaned on the metal rail, by a street artist selling tiny water colours.” "I like this bridge," she said. "No cars. Only lovers, and old ladies in hats. People with nothing to do. This bridge has absolutely no common sense.

Down every aisle a single thought follows me like a shadow: Brand Italy is strong. When it comes to cultural currency, there is no brand more valuable than this one. From lipstick-red sports cars to svelte runway figures to enigmatic opera singers, Italian culture means something to everyone in the world. But nowhere does the name Italy mean more than in and around the kitchen. Peruse a pantry in London, Osaka, or Kalamazoo, and you're likely to find it spilling over with the fruits of this country: dried pasta, San Marzano tomatoes, olive oil, balsamic vinegar, jars of pesto, Nutella. Tucked into the northwest corner of Italy, sharing a border with France and Switzerland, Piedmont may be as far from the country's political and geographical center as possible, but it is ground zero for Brand Italy. This is the land of Slow Food. Of white truffles. Barolo. Vermouth. Campari. Breadsticks. Nutella. Fittingly, it's also the home of Eataly, the supermarket juggernaut delivering a taste of the entire country to domestic and international shoppers alike. This is the Eataly mother ship, the first and most symbolically important store for a company with plans for covering the globe in peppery Umbrian oil, and shavings of Parmigiano-Reggiano Vacche Rosse. We start with the essentials: bottle opener, mini wooden cutting board, hard-plastic wineglasses. From there, we move on to more exciting terrain: a wild-boar sausage from Tuscany. A semiaged goat's-milk cheese from Molise. A tray of lacy, pistachio-pocked mortadella. Some soft, spicy spreadable 'nduja from Calabria. A jar of gianduja, the hazelnut-chocolate spread that inspired Nutella- just in case we have any sudden blood sugar crashes on the trail.

Jake opened one eye and blinked confusedly at the sunlight pouring through the window high above. Disoriented, he rolled over on a lumpy, unfamiliar bed and found himself staring up at an enormous black animal who flattened his ears, bared his teeth, and tried to bite him through the slats of his stall. “You damned cannibal!” he swore at the evil-tempered horse. “Spawn of Lucifer!” Jake added, and for good measure he aimed a hard kick at the wooden slats by way of retaliation for the attempted bite. “Ouch, dammit!” he swore as his bootless foot hit the board. Shoving himself to a sitting position, he raked his hands through his thick red hair and grimaced at the hay that stuck between his fingers. His foot hurt, and his head ached from the bottle of wine he’d drunk last night. Heaving himself to his feet, he pulled on his boots and brushed off his woolen shirt, shivering in the damp chill. Fifteen years ago, when he’d come to work on the little farm, he’d slept in this barn every night. Now, with Ian successfully investing the money Jake made when they sailed together, he’d learned to appreciate the comforts of feather mattresses and satin covers, and he missed them sorely. “From palaces to a damned cowshed,” he grumbled, walking out of the empty stall he’d slept in. As he passed Attila’s stall, a hoof punched out with deadly aim, narrowly missing Jake’s thigh. “That’ll cost you an early breakfast, you miserable piece of living glue,” he spat, and then he took considerable pleasure in feeding the other two horses while the black looked on. “You’ve put me in a sour mood,” he said cheerfully as the jealous horse shifted angrily while the other two steeds were fed. “Maybe if it improves later on, I’ll feed you.

I select the right practice gun, the one about the size of a pistol, but bulkier, and offer it to Caleb. Tris’s fingers slide between mine. Everything comes easily this morning, every smile and every laugh, every word and every motion. If we succeed in what we attempt tonight, tomorrow Chicago will be safe, the Bureau will be forever changed, and Tris and I will be able to build a new life for ourselves somewhere. Maybe it will even be a place where I trade my guns and knives for more productive tools, screwdrivers and nails and shovels. This morning I feel like I could be so fortunate. I could. “It doesn’t shoot real bullets,” I say, “but it seems like they designed it so it would be as close as possible to one of the guns you’ll be using. It feels real, anyway.” Caleb holds the gun with just his fingertips, like he’s afraid it will shatter in his hands. I laugh. “First lesson: Don’t be afraid of it. Grab it. You’ve held one before, remember? You got us out of the Amity compound with that shot.” “That was just lucky,” Caleb says, turning the gun over and over to see it from every angle. His tongue pushes into his cheek like he’s solving a problem. “Not the result of skill.” “Lucky is better than unlucky,” I say. “We can work on skill now.” I glance at Tris. She grins at me, then leans in to whisper something to Christina. “Are you here to help or what, Stiff?” I say. I hear myself speaking in the voice I cultivated as an initiation instructor, but this time I use it in jest. “You could use some practice with that right arm, if I recall correctly. You too, Christina.” Tris makes a face at me, then she and Christina cross the room to get their own weapons. “Okay, now face the target and turn the safety off,” I say. There is a target across the room, more sophisticated, than the wooden-board target in the Dauntless training rooms. It has three rings in three different colors, green, yellow, and red, so it’s easier to tell where the bullets it. “Let me see how you would naturally shoot.” He lifts up the gun with one hand, squares off his feet and shoulders to the target like he’s about to lift something heavy, and fires. The gun jerks back and up, firing the bullet near the ceiling. I cover my mouth with my hand to disguise my smile. “There’s no need to giggle,” Caleb says irritably. “Book learning doesn’t teach you everything, does it?” Christina says. “You have to hold it with both hands. It doesn’t look as cool, but neither does attacking the ceiling.” “I wasn’t trying to look cool!” Christina stands, her legs slightly uneven, and lifts both arms. She stares the target for a moment, then fires. The training bullet hits the outer circle of the target and bounces off, rolling on the floor. It leaves a circle of light on the target, marking the impact site. I wish I’d had this technology during initiation training. “Oh, good,” I say. “You hit the air around your target’s body. How useful.” “I’m a little rusty,” Christina admits, grinning.

And in many other cities which for him were all identical - hotel, taxi. a hall in a cafe or club. These cities, these regular rows of blurry lamps marching past and suddenly advancing and encircling a stone horse in a square, were as much a habitual and unnecessary integument as the wooden pieces and the black and white board, and he accepted this external life as something inevitable but completely uninteresting. Similarly, in his way of dressing and in the manner of his everyday life, he was prompted by extremely dim motives, stopping to think about nothing, rarely changing his linens, automatically winding his watch at night, shaving with the same safety blade until it ceased to cut altogether, and feeding haphazardly and plainly. From some kind of melancholy inertia he continued to order at dinner the same mineral water, which effervesced slightly in the sinuses and evoked a tickling sensation in the corner of his eyes, like tears for the vanished Valentinov. Only rarely did he notice his own existence, when for example lack of breath - the revenge of a heavy body - forced him to halt with open mouth on a staircase, or when he had a toothache, or when at a late hour during his chess cogitations an outstretched hand shaking a matchbox failed to evoke in it the rattle of matches, and the cigarette that seemed to have been thrust unnoticed into his mouth by someone else suddenly grew and asserted itself, solid, soulless, and static, and his whole life became concentrated in the single desire to smoke, although goodness knows how many cigarettes had already been unconsciously consumed, In general, life around him was so opaque and demanded so little effort of him that it sometimes seemed someone - a mysterious, invisible manager - continued to take him from tournament to tournament; but occasionally there were odd moments, such quietness all around, and when you looked out into the corridor - shoes, shoes, shoes, standing at all the door, and in your ears the roar of loneliness.

Fifty miles out of Prague, the halved carcass of a freshly killed hog hangs, still steaming in the cold, from what looks like a child’s swing set. It’s a wet, drizzling morning and your feet are sopping and you’ve been warming yourself against the chill by huddling around the small fire over which a pot of pig parts boils. The butcher’s family and friends are drinking slivovitz and beer, and though noon is still a few hours off, you’ve had quite a few of both. Someone calls you inside to the tiled workspace, where the butcher has mixed the pig’s blood with cooked onions and spices and crumbs of country bread, and he’s ready to fill the casings. Usually, they slip the casing over a metal tube, turn on the grinding machine, cram in the forcemeat or filling, and the sausages fill like magic. This guy does it differently. He chops everything by hand. A wet mesa of black filling covers his cutting board, barely retaining its shape—yet he grabs the casing in one hand, puts two fingers in one open end, makes the “V” sign, stretching it disturbingly, and reaches with the other—then buries both his hands in the mix. A whirlwind of movement as he squeezes with his right hand, using his palm like a funnel, somehow squirting the bloody, barely containable stuff straight into the opening. He does this again and again with breathtaking speed, mowing his way across the wooden table, like a thresher cutting a row through a cornfield, a long, plump, rapidly growing, glistening, fully filled length of sausage engorging to his left as he moves. It’s a dark, purplish color through the translucent membrane. An assistant pinches off links, pins them with broken bits of wooden skewer. In moments, they are done.

There is one thing I need to be sure of,” said the Emperor, taking an arrow, and placing it in the bow, cocking it back, “I need to know where your loyalties lay, Miss Roberts.” “With you, Emperor,” said Areli, scared, “of course, they’re with you.” “Then prove it,” said the Emperor, “prove your obedience to me. Prove your allegiance.” He placed the crossbow in her fingers, laced her finger against the trigger, and positioned the butt of the weapon against her shoulders. “That woman there. She’s a follower, Areli. She’s a deceitful little tramp that had taken residence in the bed of Degendhard’s. I want you to kill her for me. I want you to punish her, for her crimes against her Empire.” Areli looked at him, bewildered, with eyes that screamed, you can’t be serious! “If you don’t. Then I will have no other option than to assume you have been taken to Degendhard’s bed as well. You will do this, Areli. You will punish her. Prove your worth.” Areli took a deep breath, feeling the smoothness of the wood and the coldness of the trigger for the first time since having the harsh weapon thrust into her hand. The Emperor, sensing her hesitation, forced himself upon her. Her lifted her arms, and steadied the weapon into her shoulder, his chest pressed up against her back, his lips rubbing against her ear. The crossbow shook. The woman’s head lulled back and forth as she was stuck in a drug rendered dream-state, not knowing that her body faced impalement. “Stop shaking!” said the Emperor. Areli’s finger kept going back and forth between the trigger and the wooden body of the bow. “She’s moving too much!” cried Areli. “Fine,” said the Emperor. He turned Areli’s body to face her mother, the arrow aimed at her chest. “Maybe this will be an easier target.” “No!” screamed Areli, “no, please, I beg of you. I’ll do it, please. Please!” The Emperor moved the aim of the arrow back to the prisoner. “Hesitate now, Areli . . . this arrow will be lodged between your mother’s eyes. I can promise you that.” Areli’s whole body shook. The woman’s head continued to move as if it was a board on water, caught in a wicked storm. “I’m so sorry,” said Areli, under her breath, “I’m so, so sorry.” Her heart caught in her lungs, as the Emperor slid his fingers on top of hers. “All you have to do is pull, Areli,” said the Emperor, “just pull the trigger.” Areli closed her eyes, the Emperor held himself firmly pressed against her, steadying her convulsing body, and kept the weapon pointing true. She pulled her finger towards her body. She felt the kick of the bow, as violent as an unbroken horse, against her shoulder. She heard the snap of the arrow being pushed towards its target. “Welcome to Abhi, Areli” whispered the Emperor into her ear. “You’re dismissed.” She opened her eyes. The weapon fell from her hands. The prisoner was no longer in front of her kneeling. The force of the arrow had knocked her onto her back, the shaft lodged into the woman’s head. Areli had just killed a person. Not just killed, but executed someone. And not just someone, but a follower of Degendhard.

As each German and Italian and Frankish nobleman arrived in Constantinople with his own private army, ready to cross over the Bosphorus Strait and face the enemy, Alexius had demanded a sacred oath. Whatever “cities, countries or forces he might in future subdue . . . he would hand over to the officer appointed by the emperor.” They were, after all, there to fight for Christendom; and Alexius Comnenus was the ruler of Christendom in the east.1 Just as Alexius had feared, the chance to build private kingdoms in the Holy Land proved too tempting. The first knight to bite the apple was the Norman soldier Bohemund, who had arrived in Constantinople at the start of the First Crusade and immediately became one of the foremost commanders of the Crusader armies. Spearheading the capture of the great city Antioch in 1098, Bohemund at once named himself its prince and flatly refused to honor his oath. (“Bohemund,” remarked Alexius’s daughter and biographer, Anna, “was by nature a liar.”) By 1100, Antioch had been joined by two other Crusader kingdoms—the Kingdom of Jerusalem and the County of Edessa—and Bohemund himself was busy agitating the Christians of Asia Minor against Byzantium. By 1103, Bohemund was planning a direct attack against the walls of Constantinople itself.2 To mount this assault, Bohemund needed to recruit more soldiers. The most likely source for reinforcements was Italy; Bohemund’s late father, Robert Guiscard, had conquered himself a kingdom in the south of Italy (the grandly named “Dukedom of Apulia and Calabria”), and Bohemund, who had been absent from Italy since heading out on crusade, had theoretically inherited its crown. Alexius knew this as well as Bohemund did, so Byzantine ships hovered in the Mediterranean, waiting to intercept any Italy-bound ships from the principality of Antioch. So Bohemund was forced to be sneaky. Anna Comnena tells us that he spread rumors everywhere: “Bohemond,” it was said, “is dead.” . . . When he perceived that the story had gone far enough, a wooden coffin was made and a bireme prepared. The coffin was placed on board and he, a still breathing “corpse,” sailed away from Soudi, the port of Antioch, for Rome. . . . At each stop the barbarians tore out their hair and paraded their mourning. But inside Bohemond, stretched out at full length, was . . . alive, breathing air in and out through hidden holes. . . . [I]n order that the corpse might appear to be in a state of rare putrefaction, they strangled or cut the throat of a cock and put that in the coffin with him. By the fourth or fifth day at the most, the horrible stench was obvious to anyone who could smell. . . . Bohemond himself derived more pleasure than anyone from his imaginary misfortune.3 Bohemund was a rascal and an opportunist, but he almost always got what he wanted; when he arrived in Italy and staged a victorious resurrection, he was able to rouse great public enthusiasm for his fight against Byzantium. In fact, his conquest of Antioch in the east had given him hero stature back in Italy. People swarmed to see him, says one contemporary historian, “as if they were going to see Christ himself.”4

They stood around a bleeding stump of a man lying on the ground. His right arm and left leg had been chopped off. It was inconceivable how, with his remaining arm and leg, he had crawled to the camp. The chopped-off arm and leg were tied in terrible bleeding chunks onto his back with a small wooden board attached to them; a long inscription on it said, with many words of abuse, that the atrocity was in reprisal for similar atrocities perpetrated by such and such a Red unit—a unit that had no connection with the Forest Brotherhood. It also said that the same treatment would be meted out to all the partisans unless, by a given date, they submitted and gave up their arms to the representatives of General Vitsyn’s army corps. Fainting repeatedly from loss of blood, the dying man told them in a faltering voice of the tortures and atrocities perpetrated by Vitsyn’s investigating and punitive squads. His own sentence of death had been allegedly commuted; instead of hanging him, they had cut off his arm and leg in order to send him into the camp and strike terror among the partisans. They had carried him as far as the outposts of the camp, where they had put him down and ordered him to crawl, urging him on by shooting into the air. He could barely move his lips. To make out his almost unintelligible stammering, the crowd around him bent low. He was saying: “Be on your guard, comrades. He has broken through.” “Patrols have gone out in strength. There’s a big battle going on. We’ll hold him.” “There’s a gap. He wants to surprise you. I know. ... I can’t go on, men. I am spitting blood. I’ll die in a moment.” “Rest a bit. Keep quiet.—Can’t you see it’s bad for him, you heartless beasts!” The man started again: “He went to work on me, the devil. He said: You will bathe in your own blood until you tell me who you are. And how was I to tell him, a deserter is just what I am? I was running from him to you.” “You keep saying ‘he.’ Who was it that got to work on you?” “Let me just get my breath. ... I’ll tell you. Hetman, Bekeshin. Colonel, Strese. Vitsyn’s men. You don’t know out here what it’s like. The whole town is groaning. They boil people alive. They cut strips out of them. They take you by the scruff of the neck and push you inside, you don’t know where you are, it’s pitch black. You grope about—you are in a cage, inside a freight car. There are more than forty people in the cage, all in their underclothes. From time to time they open the door and grab whoever comes first—out he goes. As you grab a chicken to cut its throat. I swear to God. Some they hang, some they shoot, some they question. They beat you to shreds, they put salt on the wounds, they pour boiling water on you. When you vomit or relieve yourself they make you eat it. As for children and women—O God!” The unfortunate was at his last gasp. He cried out and died without finishing the sentence. Somehow they all knew it at once and took off their caps and crossed themselves. That night, the news of a far more terrible incident flew around the camp. Pamphil had been in the crowd surrounding the dying man. He had seen him, heard his words, and read the threatening inscription on the board. His constant fear for his family in the event of his own death rose to a new climax. In his imagination he saw them handed over to slow torture, watched their faces distorted by pain, and heard their groans and cries for help. In his desperate anguish—to forestall their future sufferings and to end his own—he killed them himself, felling his wife and three children with that same, razor-sharp ax that he had used to carve toys for the two small girls and the boy, who had been his favorite. The astonishing thing was that he did not kill himself immediately afterward.

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

He dusted the dough with cumin and coriander and salt before he slid the loaves into the oven on flat wooden boards. Perhaps most important,

Past the bouncers outside and the girls smoking long, skinny cigarettes, past the tinted glass doors and the jade stone Novikov has put in near the entrance for good luck. Inside, Novikov opens up so anyone can see everyone in almost every corner at any moment, the same theatrical seating as in his Moscow places. But the London Novikov is so much bigger. There are three floors. One floor is “Asian,” all black walls and plates. Another floor is “Italian,” with off-white tiled floors and trees and classic paintings. Downstairs is the bar-cum-club, in the style of a library in an English country house, with wooden bookshelves and rows of hardcover books. It’s a Moscow Novikov restaurant cubed: a series of quotes, of references wrapped in a tinted window void, shorn of their original memories and meanings (but so much colder and more distant than the accessible, colorful pastiche of somewhere like Las Vegas). This had always been the style and mood in the “elite,” “VIP” places in Moscow, all along the Rublevka and in the Garden Ring, where the just-made rich exist in a great void where they can buy anything, but nothing means anything because all the old orders of meaning are gone. Here objects become unconnected to any binding force. Old Masters and English boarding schools and Fabergé eggs all floating, suspended in a culture of zero gravity.

My fingers clutch the wooden edges of the podium. “My sister, Isabelle, was a woman of great passions,” I say quietly at first. “Everything she did, she did full speed ahead, no brakes. When she was little, we worried about her constantly. She was always running away from boarding schools and convents and finishing school, sneaking out of windows and onto trains. I thought she was reckless and irresponsible and almost too beautiful to look at. And during the war, she used that against me. She told me that she was running off to Paris to have an affair, and I believed her. “I believed her. All these years later, that still breaks my heart a little. I should have known she wasn’t following a man, but her beliefs, that she was doing something important.” I close my eyes for a moment and remember: Isabelle, standing with Gaëtan, her arms around him, her eyes on me, shining with tears. With love. And then closing her eyes, saying something none of us could hear, taking her last breath in the arms of the man who loved her. Then, I saw tragedy in it; now I see beauty.

I think I hear someone on the stairs. The old wooden boards creak like crazy, and I hear the tell-tale sound of someone walking up the stairs. My heart is practically in my throat now. Then I hear the familiar sound of my old mahogany bedroom door swinging slowly open on squeaky hinges.

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firmly by the shoulders. Jon says, ‘How the hell did you ever get keys for this place?’ I chuckle, though there is really nothing to laugh about. It is the irony, I suppose. ‘The first summer I was here, I landed one day to find that the Lighthouse Board had sent in decorators to paint the place. Everything was opened up. The guys were okay with me taking a look around and we got chatting. The forecast was good, and they expected to be here for a few days. So I spun them the story about writing a book and said I would probably be back tomorrow. And I was. Only this time with a pack of Blu-tack. When they were having their lunch, I took the keys from the inner and outer doors and made impressions. Dead simple. Had keys cut, and access to the place whenever I wanted thereafter.’ The final panel falls away in my hands, and I reach in to retrieve a black plastic bag. I hand it up to Jon, and he peels back the plastic to look inside. As I stand up, I lift one of the wooden panels. I know that this is the one chance I will get, while he is distracted, and I swing the panel at his head as hard as I can. The force with which it hits him sends a judder back up my arms to my shoulders, and I actually hear it snap. He falls to his knees, dropping the hard drive, and his gun skids away across the floor. Sally is so startled, she barely has time to move before I punch her hard in the face. I feel teeth breaking beneath the force of my knuckles, behind lips I once kissed with tenderness and lust. Blood bubbles at her mouth. I grab Karen by the arm and hustle her fast down the corridor, kicking open the door and dragging her out into the night. The storm hits us with a force that assails all the senses. The wind is deafening, driving stinging rain horizontally into our faces. The cold wraps icy fingers around us, instantly numbing. Beyond the protection of the walls, it is worse, and I find it nearly impossible to keep my feet as I pull my daughter off into the dark. Only the relentless turning of the lamp in the light room above us provides any illumination. We turn right, and I know that almost immediately the island drops away into a chasm that must be two or three hundred feet deep. I can hear the ocean rushing into it. Snarling, snapping at the rocks below and sending an amplified roar almost straight up into the air. I guide Karen away from it, half-dragging her, until we reach a small cluster of rocks and I push her flat into the ground behind them. I tear away the tape that binds her wrists, then roll her on to her back to peel away the strip of it over her mouth. She gasps, almost choking, and I feel her body next to mine, racked by sobs, as she

Brötchen There’s nothing more German than this recipe. A staple for all true Schmidt bakers. These are best hot out of the oven with butter or cherry jam. That’s the way Mom did it. Here, I’ll give you Oma’s cherry jam recipe too. 2½ to 3 cups all-purpose flour 1 packet active dry yeast (rapid) 1 teaspoon sugar 1 cup warm water 1 tablespoon oil 1 teaspoon salt 1 egg white Put 2½ cups flour into a large bowl and make a well in the middle. Pour yeast, sugar, and two tablespoons of warm water (the water comes from the 1 cup) into the well. Mix yeast, sugar, and water in the well, but don’t mix in the flour yet. Cover the bowl with a cloth and set it in a warm place for 15 minutes until it proofs. Add the rest of the water and oil, and beat in the salt and flour good. Turn out the dough on a floured wooden board, and knead. Add the remaining ½ cup flour as needed to make it smooth. Put dough in a greased bowl, cover, and let it rise until it doubles in size. About an hour in that same warm spot. Punch down, then split it into 12 pieces. Shape into rolls and place 3 inches apart on a greased and floured baking tray. Cover and let rise one more time until they double again. Cut a cross on top of each. Beat egg white and 1 teaspoon water with a fork until frothy and brush the rolls. (Oh, I forgot—should have preheated the oven to 450°F already.) Then you bake for 15 to 20 minutes until the tops are golden.

We have a gray stone house with stone slates on the roof and wooden beams inside, and whitewashed bumpety walls and pots for flowers everywhere; the boards creak and he loves me, and there is something about having a child and being in a valley, and being loved, that is more marvelous than anything you or I ever knew about in our flittery days.

taking a small piece of the Parmesan that I have broken into craggy shards on the small wooden board I've laid out, with a wedge of triple-crème Délice de Bourgogne Brie, some nuts and dried fruits, a homemade quince and plum membrillo paste, and some tiny little German wild boar sausages that I've been hoarding since my trip to Berlin last year.

The wind tousled his hair, and Dain’s chest loosed a little as his gaze broke from the wooden maid to follow a breeze-blown gull toward the horizon. The distant salmon skies dipped over the rim of the sea, and for the first time since boarding, he wondered where the waves might take him.

THE TRUTH In summer there was something in the selfhood of the wasps that wanted to get inside the screened-in porch. It sent them buzzing against the wire mesh, probing under the eaves, crawling into the cracks between the boards. Each day we’d find new bodies on the sill: little failures, like struck matches: shrunken in death, the yellow color of cider or old varnish. The blue self of the sky looked down on the self of the wooden house where the wasps were perishing. The wind swept them to the ground. The wasps seemed to be extensions of one big thing making the same effort again and again. I can remember that feeling of being driven by some longing I could not understand to look for the passage through, —trying again and again to get inside. I must have left a lot of dead former selves scattered around behind me while I kept pushing my blunt head at a space that prevented my entering —and by that preventing delivered me to where I live now, still outside; still flying around in the land of the unfinished.

However, the Lord still provided for us. Of course, at that time everything was simple and crude. Our living quarters were simple and crude; so were the meeting hall and its restrooms. The doors were wooden boards nailed together, and sometimes they were hard to open. However, they were acceptable as long as the rain did not get in, the wind did not blow in, and the sun did not shine in. Even though the [90] situation was such, when we preached the gospel, people were still saved and baptized. It seemed that the more difficult the situation was, the greater the number of people who were baptized. One time we preached the gospel for two consecutive days on Saturday and the Lord’s Day, and more than seven hundred people were baptized. It really illustrated the saying, “The lighter the material things, the weightier the spiritual life; the heavier the material things, the lighter the spiritual life.” Now Taiwan is too materialistic. We should indeed take this as a warning.

The twist of the stairs tightened; the carpet beneath their galloping feet gave way to boards; a door presented itself with a simpler, barer flight of staircase beyond. Glancing back down the well, Smith saw beneath the spiral of astonished faces tilted up at him that there was a commotion in the hall now, with shouts and banging, but that, judging by the banging, the door to the street had not been opened. Not yet, anyway. Up the next flight. Oilcloth, plain wood, a child’s wooden horse: a nursery. Past a nurse with a babe in arms that began, reliably, to bawl. Last flight: up among the eaves, servants’ bedrooms, grey plaster, cold air, truckle beds. Along a mean corridor, Septimus counting along the rooms on their right. Last room. Door of plain pine. Door locked from inside. Septimus rapped on it. No answer but a faint, sickly groan.

Aliena was concentrating. Their painted wooden board was shaped like a cross and divided into squares of different colours. The counters appeared to be made of ivory, white and black. The game was obviously a variant of merrels, or nine-men’s-morris, and probably a gift brought back from Normandy by Aliena’s father.

You good?” “Yeah. Okay. Good.” “Now, I’m going to be right here to tell you what to do, and I’ll help you steer if you start running us off the road.” I revved the gas pedal and then placed her foot on it and let her do the same. I could tell she was trying not to bail off of my lap—her body was practically vibrating with nerves—but she didn’t. She stayed, listening intently. I gave her basic instructions, and then I helped her ease onto the road, going about five miles per hour. She didn’t move her hands from two and ten o’clock, and I had to tug at the wheel slightly to straighten us out. And then we picked up speed, just a bit. “How does that feel?” “Like falling,” she whispered, her body rigid, her arms locked on the wheel. “Relax. Falling is easier if you don’t fight it.” “And driving?” “That too. Everything is easier if you don’t fight it.” “What if someone sees us?” “Then I’ll tell you when to wave." She giggled and relaxed slightly against me. I kissed her temple where it rested against my cheek, and she was immediately stiff as a board once more. Shit. I hadn’t thought. I’d just reacted. “I would have patted you on the back, but your forehead was closer,” I drawled. “You’re doin’ it. You’re drivin’.” “How fast are we going?” she said breathlessly. I hoped it was fear and not that kiss. “Oh you’re flyin’, baby. Eight miles an hour. At this rate, we will reach Salt Lake in two days, my legs will be numb, and Henry will want a turn. Give it a little gas. Let’s see if we can push it up to ten.” She pressed her foot down suddenly and we shot forward with a lurch. “Whoa!” I cried, my arms shooting up to brace hers on the wheel. I saw Henry stir from the corner of my eye. “Danika Patrick is the first female NASCAR driver to ever win a NASCAR Sprint Cup Series pole,” he said woodenly, before slumping back down in his seat. I spared him a quick glance, only to see his eyes were closed once more. Millie obviously heard him and she hooted and pressed the gas pedal down a little harder. “Henry just compared you to Danika Patrick. And he obviously isn’t alarmed that you’re driving because he’s already asleep again.” “That’s because Henry knows I’m badass.” “Oh yeah. Badass, Silly Millie. ‘Goin’ ninety miles an hour down a dead-end street,’” I sang a little Bob Dylan, enjoying myself thoroughly.

Liam had seen warriors playing chess, and started to pepper me with questions about the rules. As the dishes were removed, nothing would satisfy him but that we play a game. "I know your memory is not like ours," he spoke eagerly as he pulled a wooden box out from under the platform. "So I bartered for this." He pulled out the first piece with a flourish and pressed it into my hand. I studied it as he set the rest out on the board. The carving was amazing. It was a fierce warrior of the Plains on a galloping horse, poised to fling a lance at his opponent. But it was plain wood, with no color distinction. Then I glanced at the board and realized that it wouldn't be a problem telling the pieces apart. One side was the Firelanders, clearly, lean and fierce warriors of both sexes, armed to the teeth. The others were all chubby city-dwellers, unarmored, with no weapons, cowering in fear of their attackers. Even the castles looked afraid somehow. I arched an eyebrow at Liam, and he had the grace to look embarrassed. "The set is well carved," he offered as if in apology. I chuckled. "Well, let's just see how you fare against me, Warlord.

In 2000, the National Gallery in London put on a millennial exhibition entitled “Seeing Salvation.” That was a case in point—especially remembering that European countries tend to be far more “secularized” than the United States. It consisted mostly of artists’ depictions of Jesus’s crucifixion. Many critics sneered. All those old paintings about someone being tortured to death! Why did we need to look at rooms full of such stuff? Fortunately, the general public ignored the critics and turned up in droves to see works of art, which, like the crucifixion itself, seem to carry a power beyond theory and beyond suspicion. The Gallery’s director, Neil McGregor, moved from that role to become director of the British Museum, a job he did with great distinction and effect for the next decade. The final piece he acquired in the latter capacity, before moving to a similar position in Berlin, was a simple but haunting cross made from fragments of a small boat. The boat, which been carrying refugees from Eritrea and Somalia, was wrecked off the coast of the Italian island of Lampedusa, south of Sicily, on October 3, 2013. Of the 500 people on board, 349 drowned. A local craftsman, Francesco Tuccio, was deeply distressed that nothing more could have been done to save people, and he made several crosses out of fragments of the wrecked vessel. One was carried by Pope Francis at the memorial service for the survivors. The British Museum contacted Mr. Tuccio, and he made a cross especially for the museum, thanking the authorities there for drawing attention to the suffering that this small wooden object would symbolize. Why the cross rather than anything else?

Things in the kitchen were, thankfully, going according to plan. Ginny's hands moved at a gratifying pace over the stove. She deftly controlled the four burners to simmer sauces with ease. A pair of solid wooden cutting boards were positioned at her elbow, piled with minced garlic, leafy herbs, and fresh root vegetables. A beautiful cut of Angus beef rested on the counter, coming to room temperature and marinating in rich juices. An elevated twist on a white chocolate cheesecake chilled on the packed refrigerator shelf. All in all, she had planned a fabulous meal. This was how Ginny had always envisioned Mesquite running, smooth and well staffed, with happy guests at the table and herself at the helm. If she thought about it hard enough, which she rarely had time to do, Ginny would say this evening was damn near perfection. Feeling sentimental, she allowed herself a pour from the bottle of chilled Oregon pinot noir in the refrigerator. She wiped her fingers clean with a nearby tea towel and watched as the golden evening light filtered through the windows, illuminating the translucent burgundy liquid in her glass. This is how it should be, she thought to herself. Happy customers in the other room, her daughter and her sister all under one roof, and a warm place to call home. She'd be content if she knew it could last.

Potter laughed, a breathless, quiet sound, and Draco shut him up by Conjuring a hovering wooden board, which flew at Potter and smacked him firmly in the chest.

Bees Were Better In college, people were always breaking up. We broke up in parking lots, beside fountains. Two people broke up across a table from me at the library. I could not sit at that table again though I did not know them. I studied bees, who were able to convey messages through dancing and could find their ways home to their hives even if someone put up a blockade of sheets and boards and wire. Bees had radar in their wings and brains that humans could barely understand. I wrote a paper proclaiming their brilliance and superiority and revised it at a small café featuring wooden hive-shaped honey-dippers in silver honeypots at every table.

I read and reread these pages all day long as I sat next to the cast-iron stove. In the absence of coal, we burned wooden boards pilfered from the rubble of destroyed houses in order to keep warm in these chilly early days of spring. In times of plenty my appetite had always been small, but now I often went hungry.

(Which was probably just an empty casing. Probably.) Mellie stood next to him, supervising. When she saw us, she waved and gave us a sad smile, but she pointed toward the plane, where Piper stood at the base of the steps, talking with the pilot. In her hands, Piper held something large and flat—a display board. She had a couple of books under her arm, too. To her right, near the tail of the aircraft, the luggage compartment stood open. Ground-crew members were carefully strapping down a large wooden box with brass fixtures. A coffin. As Meg and I walked up, the captain shook Piper’s hand. His face was tight with

He watched her pace the floor in her bare feet---the floor she'd scrubbed clean seven times now from the mess and afterbirth of new babies. She'd gotten out the stains [...] in the floor she was pacing now, walking up and down the ordinary wooden boards with bare feet like Moses at the burning bush. Like something sacred had happened there; holy ground.

This was originally a large wooden board, almost three meters long,

This time he kicked the other shin. I felt tears in my eyes and blinked to keep them back. He backed across the kitchen to the gas stove, turned on one of the burners and the pilot lit it. On top of the oven was a soldering iron, the old fashioned kind with a wooden handle and a heavy point. He stuck the pointed end in the flame of the burner and left it there. His eyes didn’t leave my face. “All right,” he said. “Donna’s in your apartment at the motor court. Later, if you can still talk, you’ll call her up and tell her to meet you someplace. But right now I’ve got another question. What are you and your hick friend looking for up here?” “Dolly Spangler’s murderer,” I said. “Who do you figure that might be?” “I haven’t figured. Singer Batts does the figuring. Where did you take him?” “Forget about him. Just concentrate on what I say. I want the paper—the report out of the Control Board files that you and your hick friend are looking for. Where is it?” “What makes you think we found it?” He lifted the soldering iron out of the burner and looked at it. It was pink. He stuck it back in the flame. “I think you did,” he said. “If you didn’t, you know where it is.” “All right,” I said. “Franklin Hollander’s got it. Bonnie Claire and her boys planted it on him.” One of his eyebrows flickered. “If you know that much,” he said, “you know Hollander doesn’t have it any more. Where is it?” He lifted the iron out of the fire. It was nice and red now. He spat on it and it sizzled. He walked my way. “You win,” I said. “I’ve got the paper. It’s in my pocket. You want me to reach in and get it?” He stopped and looked me over, looked at my pockets and back at my face. He didn’t want to come close enough to reach in my pocket. He would have to put down either the gun or the iron and he didn’t want to do that either. “Yeah,” he said finally. “Reach for it slow. Pull it out and drop it on the floor.

From a long board, he watched her rake a pile into the stockpot: tomatoes and garlic, orange peel and bay, the heads and spines and tails of a dozen sardines. She plunged a knife into a spider crab and split it in two, tossing it after. She hadn't noticed Al standing behind her. He cleared his throat, and she swung around. "Oh, goodness," she said. "You've been busy." She held to his face a mortar of green pounded herbs and garlic, a rouille so sharp it made his eyes water. And then a hard loaf of bread, white fish steaks translucent as china; she put a salted almond in his mouth, a crust dipped into the stockpot, her finger. She was giddy, beautiful, his wife. She poured the stock through a strainer, pressing on the bones and shells with the back of a wooden spoon. She poached the fish steaks, some tiny rings and tangles of squid, picking out the mussels as they opened; she toasted bread; she warmed a Delft tureen with boiling water. She set the table, handing a cold bottle of white wine from the refrigerator and a corkscrew to him. "There's so much in this kitchen," she whispered. "Is Gigi here?" "No, not ever, I don't think. But she's got every kind of gadget. Look at this. Do you know what this is?" She held up a Bakelite-handled comb with a dozen tines. Al waited. "It's for slicing cake," she said.

I will quietly in the churchyard Sleep on wooden boards in the sun, On the Sunday as guest to mother You will come, my dear one -- Through the river over the mountain Can't catch up to grown ones From afar, the sharp-eyed fellow, This my cross you'll recognize. I know, dear one, very little Can you now recall of me: Did not scold you, did not fawn you, Did not hold the cup to thee.

Grunting, I pulled my claws out of the wooden board they had called “home” last night, flexing my stiff fingers, and willed the right side of my body to return to its man form.

(1) The Mindset of Strategy and Positioning (心持ちの事　付　座之次第) ◎ With regards to mindset as you engage in a contest, be calmer than normal and try to see into your opponent’s mind. The enemy whose voice becomes higher in pitch, eyes widen, face reddens, muscles bulge and face grimaces is basically incompetent and will [clumsily] hit through to the ground. When faced with a [second-rate] adversary such as this, maintain serenity of mind and observe his face dispassionately so as not to provoke him. Then, taking hold of your sword, smile and assume a position lower than the upper stance (jōdan). Coolly evade his blow as he tries to attack you. When the enemy appears somewhat perturbed by your unusual attitude, this is the time to strike. Also, if your opponent is quiet, eyes narrowed, body at ease, and he is holding his sword in a relaxed manner as if his fingers are floating on the hilt, assume that he is an expert. Do not saunter carelessly into his range. You must seize the initiative and assail him skillfully, driving him back and striking in quick succession. If you are nonchalant with such a competent opponent, he will force you back. It is crucial to ascertain how capable your enemy is. In terms of where you should position yourself, the same conditions apply in both spacious or cramped locations. Step in so that walls will not impede your sword swings from either side. Take an approximate stance with the long sword and nimbly close in on your foe. If your sword should collide with some barrier, the enemy will become emboldened and will hem you in. If your sword looks as if it might scrape the ceiling, determine the actual height with the tip and be mindful thereafter. You can employ either sword for this, as long as it is the one that cannot be used [in attack while you do this]. Keep the light behind you. With your usual training, be prepared to freely apply any kind of technique with a relaxed mind, but always execute with urgency. It is important to adapt according to the circumstances. (2) About Gaze (目付之事) ◎ Direct your eyes on the enemy’s face. Do not focus on anything else. Since the mind is projected in [facial] expressions, there is no place more revealing than the face to fix one’s gaze. The way of observing the enemy’s face is the same as looking through the mist at trees and rocks on an island two and a half miles [4 km] in the distance. It is the same as peering at [and identifying] birds perched atop a shanty 100 yards [91 meters] away through the falling sleet. It is also akin to beholding a decorative wooden board used to cover the ridge and purlin ends of a roof gable or the tiles on a hut. Calmly focus your gaze [to take everything in].

The Hardys led Mr. Worth up a side street. They stopped at a wide, steamy window bearing the lettering: CHARLIE’S CLAM HOUSE “I hear the food’s good,” Joe remarked, and the trio entered the restaurant. It was a typical waterfront eating place, with sawdust on the floor. The place was crowded with diners, despite the late hour. In one corner sat a group of well-dressed people who, like the Hardys, had just left a farewell party on board the liner. But most of the customers were rough-looking men of the waterfront district. The noise of lively conversations and the odor of frying fish filled the air. Frank, Joe, and Bart Worth seated themselves at a plain wooden table in the middle of the room. As soon as the waiter had taken a dinner order for Mr. Worth and sandwiches for the Hardys, the Southerner began his story.

Avel and his cousin Benito welded iron bars over the windows. Pearla began doing housework in the mornings to avoid the afternoon shadows that fell upon her home like a cage... Pearla asked Avel to nail wooden boards over the bedroom window, blocking from the room both thieves and sunlight. It took some getting used to, but the darkness grew on Pearla.

At this point, I felt a sudden pang. A yearning to climb up into the tree house again. To lie down on the smooth wooden boards, gaze up at the sky through the open windows and just... remember. But I chose to ignore it. If you listened to every pang, you wouldn't get anywhere in life.

looked like Brett Daniels had sunk six posts into the ground near a tree, framed it, then built a small platform on top with deck boards. It was all treated wood but not stained or painted. A wooden ladder was built onto one side and all of it—the posts, the decking, the ladder—was a worn, weathered gray

As it turns out, skiing trips are pretty bloody annoying anyway. It’s mostly about queuing, skiing. You queue to get your breakfast in the stupid wooden hotel, you queue to get on the minibus or find a taxi to take you to the stupid skiing place at the bottom of the stupid hill. You queue to buy a pass, which you lose later in the day and then you get down to the serious queuing, at the point where you get on the lift at the bottom of the mountain to take you to the top. This, technically, isn’t queuing, it’s something more akin to fighting, so I preferred this bit. You hang around in a big crowd on a sort of train platform. Except there are no tracks, just a big wire overhead. Eventually, the cable car device lumbers into view and disgorges a load of really annoying people with stupid smiles under their stupid hats on to the other side of the platform. The car never stops; it just swings around the bottom of the platform on a huge, horizontal wheel until it comes up the side on which you and several million Germans are loitering, ready to get on board. Then there is a really massive fight, lots of shouting, some vicious pushing and, the next thing you know, you’re on the cable car, face pressed to the frosted glass, staring through it at crying kids back on the platform, disappointed mothers and bereft lovers waving mournfully as the other half of their life is transported away on the carriage that someone, usually you, prevented them from getting on by elbowing them in the face and jabbing a ski pole into their groin. It’s really rather good fun. But only that part is fun; the rest of it is terrible.

That summer, Harrison Miller and Bezos butted heads in front of the board of directors over the size of the bet on toys. Bezos wanted Miller to plow $120 million into stocking every possible toy, from Barbie dolls to rare German-made wooden trains to cheap plastic beach pails, so that kids and parents would never be disappointed when they searched for an item on Amazon. But a prescient Miller, sensing disaster ahead, pushed to lower his own buy. “No! No! A hundred and twenty million!” Bezos yelled. “I want it all. If I have to, I will drive it to the landfill myself!” “Jeff, you drive a Honda Accord,” Joy Covey pointed out. “That’s going to be a lot of trips.” Bezos prevailed. And the company would make a sizable contribution to Toys for Tots after the holidays that year. “That first holiday season was the best of times and the worst of times,” Miller says. “The store was great for customers and we made our revenue goals, which were big, but other than that everything that could go wrong did. In the aftermath we were sitting on fifty million dollars of toy inventory. I had guys going down the back stairs with ‘Vinnie’ in New York, selling Digimons off to Mexico at twenty cents on the dollar. You just had to get rid of them, fast.” The electronics effort faced even greater challenges. To launch that category, David Risher tapped a Dartmouth alum named Chris Payne who had previously worked on Amazon’s DVD store. Like Miller, Payne had to plead with suppliers—in this case, Asian consumer-electronics companies like Sony, Toshiba, and Samsung. He quickly hit a wall. The Japanese electronics

Shara met me at the airport in London, dressed in her old familiar blue woolen overcoat that I loved so much. She was bouncing like a little girl with excitement. Everest was nothing compared to seeing her. I was skinny, long-haired, and wearing some very suspect flowery Nepalese trousers. I short, I looked a mess, but I was so happy. I had been warned by Henry at base camp not to rush into anything “silly” when I saw Shara again. He had told me it was a classic mountaineers’ error to propose as soon as you get home. High altitude apparently clouds people’s good judgment, he had said. In the end, I waited twelve months. But during this time I knew that this was the girl I wanted to marry. We had so much fun together that year. I persuaded Shara, almost daily, to skip off work early from her publishing job (she needed little persuading, mind), and we would go on endless, fun adventures. I remember taking her roller-skating through a park in central London and going too fast down a hill. I ended up headfirst in the lake, fully clothed. She thought it funny. Another time, I lost a wheel while roller-skating down a steep busy London street. (Cursed skates!) I found myself screeching along at breakneck speed on only one skate. She thought that one scary. We drank tea, had afternoon snoozes, and drove around in “Dolly,” my old London black cab that I had bought for a song. Shara was the only girl I knew who would be willing to sit with me for hours on the motorway--broken down--waiting for roadside recovery to tow me to yet another garage to fix Dolly. Again. We were (are!) in love. I put a wooden board and mattress in the backseat so I could sleep in the taxi, and Charlie Mackesy painted funny cartoons inside. (Ironically, these are now the most valuable part of Dolly, which sits majestically outside our home.) Our boys love playing in Dolly nowadays. Shara says I should get rid of her, as the taxi is rusting away, but Dolly was the car that I will forever associate with our early days together. How could I send her to the scrapyard? In fact, this spring, we are going to paint Dolly in the colors of the rainbow, put decent seat belts in the backseat, and go on a road trip as a family. Heaven. We must never stop doing these sorts of things. They are what brought us together, and what will keep us having fun. Spontaneity has to be exercised every day, or we lose it. Shara, lovingly, rolls her eyes.

’Puruteru’ isn't a fucking word, brat!" Shura slams her fist on the cafeteria table, sending several wooden tiles flying. "It is too!" Rin mimics her. Several more tiles fly off the board. “Right?” Amaimon, who up until this point had been squatting on the other end of the table puzzling over the user manual, opens the dictionary on his lap and takes a pen to it. "Absolutely.

Sort pills. Write note to family. Fold blanket. I am alone. Alone in a dark, unfamiliar room filled with piles and piles of stuff, reminiscent of a neglected storage locker. I know researchers are observing me from behind one-way glass—that this is an experiment in empathy, that we are, in fact, on the sprawling campus of a pharmaceutical company in New Jersey, that I can rip off the headphones at any moment and return to my present life, my real life—but this offers me no comfort. I can barely see through the goggles. My feet hurt. Every step is agony, the sharp plastic spikes digging into my soles. Sort pills. Write note to family. Fold blanket. I try to make out the shapes around me. I see an ironing board, a stack of sweaters. A ball of twine. My determination to cross items off any to-do list—always a strong suit of mine—feels slippery. Suddenly, I am a child playing hide-and-seek in the dark. Counting. Eyes squeezed shut. Terrified. Wondering if anyone will ever find me. Blanket. Pills. Note. I keep repeating the words like a prayer so I can remember them through the terrible din. The inside of my head is a needle against a scratched record, skipping, skipping. I feel my way around a cluttered table. A pill case! I try to pick it up. I barely feel it in the palm of my hand. After several tries, I get it open. Then I begin to sort the pills as best I can. Most of them spill to the floor, and I am suddenly, irrationally furious. I move around the table, supporting myself on my hands to take the pressure off my feet. I push an iron out of the way, a magazine, a wooden hanger. The notebook. I find the notebook. My gloved fingers won’t close around a pencil, so I hold it the way a child would, in my fist. By now it all feels nearly futile. I’m on the verge of tears. What is the last task? Through the static, I remember: the blanket. I have to fold it. By now I’m dizzy, depleted. What difference can it possibly make? Who cares? I do a shitty job of folding the blanket and then—then I just sit down in a chair and wait for M. to rescue me. —

Jewel and I come up from the field, following the path in single file. Although I am fifteen feet ahead of him, anyone watching us from the cottonhouse can see Jewel’s frayed and broken straw hat a full head above my own. The path runs straight as a plumb-line, worn smooth by feet and baked brick-hard by July, between the green rows of laidby cotton, to the cottonhouse in the center of the field, where it turns and circles the cottonhouse at four soft right angles and goes on across the field again, worn so by feet in fading precision. The cottonhouse is of rough logs, from between which the chinking has long fallen. Square, with a broken roof set at a single pitch, it leans in empty and shimmering dilapidation in the sunlight, a single broad window in two opposite walls giving onto the approaches of the path. When we reach it I turn and follow the path which circles the house. Jewel, fifteen feet behind me, looking straight ahead, steps in a single stride through the window. Still staring straight ahead, his pale eyes like wood set into his wooden face, he crosses the floor in four strides with the rigid gravity of a cigar store Indian dressed in patched overalls and endued with life from the hips down, and steps in a single stride through the opposite window and into the path again just as I come around the corner. In single file and five feet apart and Jewel now in front, we go on up the path toward the foot of the bluff. Tull’s wagon stands beside the spring, hitched to the rail, the reins wrapped about the seat stanchion. In the wagon bed are two chairs. Jewel stops at the spring and takes the gourd from the willow branch and drinks. I pass him and mount the path, beginning to hear Cash’s saw. When I reach the top he has quit sawing. Standing in a litter of chips, he is fitting two of the boards together. Between the shadow spaces they are yellow as gold, like soft gold, bearing on their flanks in smooth undulations the marks of the adze blade: a good carpenter, Cash is. He holds the two planks on the trestle, fitted along the edges in a quarter of the finished box. He kneels and squints along the edge of them, then he lowers them and takes up the adze. A good carpenter. Addie Bundren could not want a better one, a better box to lie in. It will give her confidence and comfort. I go on to the house, followed by the                                     Chuck.   Chuck.   Chuck.of the adze.

At first glance, the main display case at Dicecca today looks like a selection you'll find in any cheese shop in Puglia: tubs of milky water covering hunks of mozzarella in its many guises; strings of swollen scamorze dangling from the ceiling, bronzed by their stopover in the cold smoker; small plastic containers of creamy ricotta ready to be stuffed or eaten straight with a spoon. But look closer and you'll see some unfamiliar faces staring back at you through the glass: a large bucket brimming with ricotta spiked with ribbons of blue cheese and toasted almonds, served by the scoop; a wooden serving board paved with melting slabs of goat cheese weaponized with a cloak of bright red chili flakes; a hulking wheel of pecorino, stained shamrock green by a puree of basil and spinach. These are the signs of a caseificio in the grips of an evolution, one that started more than a decade ago when the brothers took the reins from their parents and began to expand the definition of a small, family-run cheese shop.

We took a short ride on the Oedo line and surfaced near a sashimi-oriented izakaya called Uoshin. The upstairs counter snaked through the room so everyone could have a seat at the bar, and tucked into nooks at various parts of the arrangement were white-coated chefs, each with a knife and a wooden board full of freshly sliced sashimi. We ordered a few selections from the board, and then Mark, who is apparently one of those wiry guys with a boundless appetite, started calling for cooked food; gesoyaki (grilled squid tentacles, one of my favorites), tamagoyaki (seasoned rolled omelet, and yellow-tail teriyaki, all of which were exceptionally good, especially the meaty broiled yellowtail with its sweet and salty glaze.

It was Luca. He didn’t know she was there, clearly. His face was granite, his close-cropped hair slick with sweat. He grunted with each thrust of his sword, pushing an older man with peppery hair and a thick beard backward toward the edge of the board. The older man suddenly surged forward, his sword swinging low. Luca jumped, his feet lifting over the blade as it whizzed past. He landed solidly but had to put his left arm out for balance. His opponent’s sword cut the late-afternoon sun into pieces as it slashed at him again. “Luca.” Cass sucked in a sharp breath. His head flicked suddenly in the direction of her voice and the older man attacked, his sword slamming against Luca’s with such force that Luca stumbled sideways and fell from the wooden beam. He ended up on his back, his sword still clutched awkwardly in his hand. The older man leapt from the board and landed catlike on the campo. He touched his blade to Luca’s neck. “Stop it!” Cass started toward them, but Maximus caught her arm. “It’s all right, Signorina Cassandra,” he said. “That is Rowan. My brother.

Their storytelling grew richer. One evening, Ali was consumed by a memory. She saw three ripe lemons on the wooden cutting board in her mother’s kitchen, right down to the sunlight spangling off their pores. She heard her mother singing while they rolled pie dough in a storm of flour.

Rather than being a single entity, you can view yourself as a collection of different parts. Part of you wants to eat a pizza, and part of you wants to get the salad because it is healthier. Part of you hopes something will go well, and another part is paralyzed by fear of failure. In working with these parts of ourselves, it can be helpful to imagine that inside your head there is a corporate boardroom. There’s a large wooden table with many plush leather chairs, and around the table are all different parts of you. You are the head of the board, the arbiter of the discussion. It is your job to hear from each part, as well as to keep order and prevent one part from hijacking the entire meeting.

only, to witness the celebration. Finally, the sheriff moved to the center of the platform and struck his staff against the wooden floor. “The meeting will be in order!” he cried out in a loud voice. The president of the Board of Overseers, John D. Long, moved to the front of the platform, carrying with him the Harvard College charter, seal, and keys. He proffered them to Lawrence, who stepped forward and, with a grave face, accepted his new role as president of Harvard College. It was only when he turned to sit in the presidential chair that he allowed himself to smile. He continued to smile as the alumni chorus sang a celebratory hymn. The opportunity he had been hoping for, for so many years, had finally presented itself. Lawrence would seize that opportunity and never look back. In his first statement

shock of excitement, of exhilaration, ran through me like a lightning strike, and my heart galloped against my ribs as his fingers tightened and his lips brushed over mine. "I told you not to get dressed, angel," he murmured, his grip just a fraction away from cutting off my air, but loose enough that I could still reply. "What are you gonna do about it, then?" Silly question. Cass kept his grip on my throat but circled around behind me until my back was pressed to his chest once more. Slowly, letting me anticipate his actions, he reached out and plucked a fileting knife from the block on the counter. Then, in a series of quick, precise cuts, he shredded my bodysuit but left my gun holster intact. "I swear," he murmured in my ear, "I've never seen a woman make weapons look so fucking hot." Satisfied with the way he'd destroyed my bodysuit, he stabbed his knife point first into the wooden cutting board in front of me.