Words Cast Spells Quotes

Eragon cried out, and in his desperation he reached for Saphira and the Eldunarí... and without meaning to, he drew from their stories of energy. And with that energy he cast a spell. It was a spell without words... His was a spell of instinct and emotion; language could not contain it.

Don't speak negatively about yourself, even as a joke. Your body doesn't know the difference. Words are energy and they cast spells, that's why it's called spelling. Change the way you speak about yourself, and you can change your life.

Advice for the wise: You"d better bite your tongue Rather than cast a spell wrong.

I'm not saying you're wrong, Declan," Gansey said. His ear throbbed where it had been boxed. He could feel Ronan's pulse crashing in his arm where he restrained him. His vow to consider his words more carefully came back to him, so he framed the rest of the statement in his head before saying it out loud. "But you are not Niall Lynch, and you won't ever be. And you'd get ahead a lot faster if you stopped trying." Gansey released Ronan. Ronan didn't move, though, and neither did Declan, as if by saying their father's name, Gansey had cast a spell. They wore matching raw expressions. Different wounds inflicted by the same weapon.

What were you chanting when you gave me your blood?” “More of my vampire magic. I cast a healing spell to aid the powers of my blood.” She sniffled, her nose stuffy. “It was better than Vicodin.” “Vicodin?” “A painkiller from my world.” “A killer of pain. Did you love him?” The words were growled.A burst of unexpected humor gave her strength. “No. In fact, he was hard to shake. He, uh, stalked me, that kind of thing. I had to pretend he didn’t exist.” Nicolai kissed her temple and relaxed against her.

Kim lifted the lid. Inside, on a small pillow covered in white velvet, lay a gold sunburst the size of her thunbnail, hung on a delicate chain. It looked a little like the first spell she had ever cast, a small explosion of light re-created in metal, and she was not really surprised to find the card with the single word "Mairelon" scrawled across it.

Arms wrapped around him, she kissed him, halting the flow of his words. He decided he would allow the kiss, but since he couldn’t make her naked here, he had to stop it. “Why did you change your face, Lily?” Liliana lifted her hands to her face at that quizzical question, terrified her father had cast a final vengeful spell. “Is it very bad?” she whispered to the man who held her in arms of steel. “I suppose I’ll get used to it,” he muttered, then kissed her again using his tongue and squeezing her bottom—as if his brothers and sister, and other people, weren’t standing right there. An instant later, she decided she didn’t care.

The word “charm” comes from the Latin carmen, a song, but also an incantation tied to the casting of a magical spell.

There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic. Art is, like magic, the science of manipulating symbols, words, or images, to achieve changes in consciousness. The very language about magic seems to be talking as much about writing or art as it is about supernatural events. A grimmoir for example, the book of spells is simply a fancy way of saying grammar. Indeed, to cast a spell, is simply to spell, to manipulate words, to change people's consciousness. And I believe that this is why an artist or writer is the closest thing in the contemporary world that you are likely to see to a Shaman. I believe that all culture must have arisen from cult. Originally, all of the faucets of our culture, whether they be in the arts or sciences were the province of the Shaman. The fact that in present times, this magical power has degenerated to the level of cheap entertainment and manipulation, is, I think a tragedy. At the moment the people who are using Shamanism and magic to shape our culture are advertisers. Rather than try to wake people up, their Shamanism is used as an opiate to tranquilize people, to make people more manipulable. Their magic box of television, and by their magic words, their jingles can cause everyone in the country to be thinking the same words and have the same banal thoughts all at exactly the same moment. In all of magic there is an incredibly large linguistic component. The Bardic tradition of magic would place a bard as being much higher and more fearsome than a magician. A magician might curse you. That might make your hands lay funny or you might have a child born with a club foot. If a Bard were to place not a curse upon you, but a satire, then that could destroy you. If it was a clever satire, it might not just destroy you in the eyes of your associates; it would destroy you in the eyes of your family. It would destroy you in your own eyes. And if it was a finely worded and clever satire that might survive and be remembered for decades, even centuries. Then years after you were dead people still might be reading it and laughing at you and your wretchedness and your absurdity. Writers and people who had command of words were respected and feared as people who manipulated magic. In latter times I think that artists and writers have allowed themselves to be sold down the river. They have accepted the prevailing belief that art and writing are merely forms of entertainment. They’re not seen as transformative forces that can change a human being; that can change a society. They are seen as simple entertainment; things with which we can fill 20 minutes, half an hour, while we’re waiting to die. It’s not the job of the artist to give the audience what the audience wants. If the audience knew what they needed, then they wouldn’t be the audience. They would be the artists. It is the job of artists to give the audience what they need.

Words, no matter whether they are vocalized and made into sounds or remain unspoken as thoughts, can cast an almost hypnotic spell upon you. You easily lose yourself in them, become hypnotized into implicitly believing that when you have attached a word to something, you know what it is. The fact is: You don’t know what it is. You have only covered up the mystery with a label. Everything, a bird, a tree, even a simple stone, and certainly a human being, is ultimately unknowable. This is because it has unfathomable depth. All we can perceive, experience, think about, is the surface layer of reality, less than the tip of an iceberg.

Words have power, my son. Words can cut to the heart and soothe the deepest hurts. They can be puzzles that leave another pondering for days. I prefer to cast my spells of words in ways that make others think. It is a fault, I fear, that has come with age.

I write because writing is power. Writing is creation. When you write, you are as a god, a deity wielding his pen like some Harry Potter staff, making whatever you want to happen, happen. By sheer force of will and some clever word placement, I can arrange all of these little symbols together to invoke emotions and ideas at a whim out of whosoever allows me to cast my spell. It does not take a man and a woman to create. It just takes a writer.

When you "spell" a word correctly, you are in effect casting a spell, charging these abstract, arbitrary symbols with meaning and power.

I am Sally Skellington, the Pumpkin Queen." There is warmth in my chest now, heat and fury and anger. "But I was born in Dream Town." The words feel like their won conjuring, a spell, a ritual or bedtime riddle to cast things into the stars and make them true. I feel suddenly awake and alive, a woman who isn't simply a rag doll, but a ruler who has traveled to all the realms, even the human world, to set things right. Who feels a spark, a wrath growing inside her.

When he talked, he was lawyer and bard and crossroads charlatan at once, arguing his case, entertaining, pulling back the veil to show you the secrets of the world. It was not just his words, though they were clever enough. It was everything together: his face, his gestures, the sliding tones of his voice. I would say it was like a spell he cast, but there was no spell I knew that could equal it. The gift was his alone.

I struggled to find my words in all that black space. It took all my strength to keep my eyes from closing and the darkness from absorbing me. I had no hope. I felt no joy. I saw no future that didn't fill me with anguish, so I didn't think at all. I didn't make words or cast spells. I just was. And that was all I could manage.

I carried those more carefully, whispering them to myself, letting them sit on my tongue like candied ginger. They sounded like words used to cast a spell.

Be safe. If she could weave magic into those words and make them a spell, she’d have cast it already. No spell could fully encompass what those two words meant to Aurelia Schwartz, though. It meant, I hope that magic will always be good to you. I hope you will never have to harden your heart the way I do. I hope that when our paths cross again, your smile won’t have faded.

Every human is a magician, and in the interaction between the magicians, there are spells being cast everywhere. How? By misusing the word, by taking everything personally, by distorting everything we perceive with assumptions, by gossiping and spreading emotional poison with the word. Humans cast spells mainly upon the people we love the most, and the more authority we have, the more powerful the spells.

Wanting his mind on other matters, she deliiberately challenged his statement. "You don't know so much about me. There was a man once. He was crazy about me." She tried to look wordly. "Absolutely crazy for me." His answering laughter was warm against her neck, her throat. His lips touched the skin over her pulse and skimmed lightly up to her ear. "Are you, by any chance, referring to that foppish boy with the orange hair and spiked collar? Dragon something?" Savannah gasped and pulled away to glare at im. "How could you possibly know about him? I dated him last year." Gregori nuzzled her neck, inhaling her fragrance, his hand sliding over her shoulder, moving gently over her satin skin to take possession of her breast. "He wore boots and rode a Harley." His breath came out in a rush as his palm cupped the soft weight, his thumb brushing her nipple into a hard peak. The feel of his large hand-so strong, so warm and possessive on her-sent heat curling through her body. Desire rose sharply. He was seducing her with tenderness. Savannah didn't want it to happen. Her body felt better, but the soreness was there to remind her where this could all lead. Her hand caught at his wrist. "How did you find out about Dragon?" she asked, desperate to distract him, to distract herself. How could he make her body burn for his when she was so afraid of him, of having sex with him? "Making love," he corrected, his voice husky, caressing, betraying the ease with which his mind moved like a shadow through hers."And to answer your question, I live in you, can touch you whenever I wish.I knew about all of them. Every damn one." He growled the worrds, and her breath caught in her throat. "He was the only one you thought of kissing." His mouth touched hers. Gently. Lightly. Returned for more. Coaxing, teasing, until she opened to him. He stole her breath, her reason, whirling her into a world of feeling.Bright colors and white-hot heat, the room falling away until there was only his broad shoulders,strong arms, hard body, and perfect,perfect mouth. When he lifted his head, Savannah nearly pulled him back to her.He watched her face,her eyes cloudy with desire, her lips so beautiful, bereft of his. "Do you have any idea how beautiful you are, Savannah? There is such beauty in your soul,I can see it shining in your eyes." She touched his face, her palm molding his strong jaw. Why couldn't she resist his hungry eyes? "I think you're casting a spell over me. I can't remember what we were talking about." Gregori smiled. "Kissing." His teeth nibbled gently at her chin. "Specifically,your wanting to kiss that orange-bearded imbecile." "I wanted to kiss every one of them," she lied indignantly. "No,you did not.You were hoping that silly fop would wipe my taste from your mouth for all eternity." His hand stroked back the fall of hair around her face.He feathered kisses along the delicate line of her jaw. "It would not have worked,you know.As I recall,he seemed to have a problem getting close to you." Her eyes smoldered dangerously. "Did you have anything to do with his allergies?" She had wanted someone, anyone,to wipe Gregori's taste from her mouth,her soul. He raised his voice an octave. "Oh, Savannah, I just have to taste your lips," he mimicked. Then he went into a sneezing fit. "You haven't ridden until you've ridden on a Harley,baby." He sneezed, coughed, and gagged in perfect imitation. Savannah pushed his arm, forgetting for a moment her bruised fist. When it hurt, she yelped and glared accusingly at him. "It was you doing all that to him! That poor man-you damaged his ego for life. Each time he touched me, he had a sneezing fit." Gregori raised an eyebrow, completely unrepentant. "Technically,he did not lay a hand on you.He sneezed before he could get that close.

Melody is king. Songs are ruled by melody. I believe that melody, more than lyrics, is what does all the heavy lifting emotionally. When I write lyrics, or when I adapt a poem to a song, my goal is to interfere as little as possible with whatever spell is being cast by the melody. At the same time, I hope, at best, that the words enhance the song somehow, add meaning or clarify and underline what the melody is making me feel.

It was not just his words, though they were clever enough. It was everything together: his face, his gestures, the sliding tones of his voice. I would say it was like a spell he cast, but there was no spell I knew that could equal it. the gift was his alone.

She asked me "what is it about these people - the silent ones, the thinking ones, and the brooding ones why do I get drawn to them without knowing them? what is it about them? is there a magnetic force about them? or do they cast a spell on me? what is it about these people! the misfits the poets, the writers, the painters, the singers, the dancers, the musicians, and all the ones who create art? what is it that pulls me to them? is it their craft their passion their words their thoughts their loneliness. their life? what is it about these people?" And I smiled and said "I will search the answers to your questions in my loneliness.

Worlds and everything in them are made real by the stories that inhabit them. . . . Stories are not mere diversions to occupy us on rainy days," he said. "They are a type of magic spell--perhaps the most powerful in existence--and their effect is to summon possibilities." As he walked, he gestured at the rows of different shelves, each one looking into a different place. "Every time the spell is cast, the impossible becomes a little more possible." Sophie was trying her best to follow his meaning. "So every time someone reads a story," she said slowly, "they're actually casting some sort of . . . magic spell?" "Precisely. Suffice it to say, if one hopes to live in a world of wonders, he had better locate himself in a place where wondrous stories abound. And if those stories were to suddenly disappear well, that would be bad for everyone involved. . . . "When a population loses its stories, it loses its capacity for wonder--what remains is a life of drudgery and toil. . . . "I have known a number of Storyguard in my years, and they are all of them unique but for one trait: they understand that stories are more than the sum of their words. Indeed, many of them love stories beyond their own lives. Which probably explains why most Storyguard are killed in the line of duty.

For the next hour and a half he tried all the magic he could think of. He cast spells of remembering, spells of finding, spells of awakening, spells to concentrate the mind, spells to dispel nightmares and evil thoughts, spells to find patterns in chaos, spells to find a path when one was lost, spells of demystification, spells of discernment, spells to increase intelligence, spells to cure sickness and spells to repair a limb that is shattered. Some of the spells were long and complicated. Some were a single word. Some had to be said out loud. Some had only to be thought. Some had no words at all but consisted of a single gesture. Some were spells that Strange and Norrell had employed in some form or other every day for the last five years. Some had probably not been used for centuries. Some used a mirror; two used a tiny bead of blood from the magician’s finger; and one used a candle and a piece of ribbon. But they all had this in common: they had no effect upon the King whatsoever.

Those groans men use passing a woman on the street or on the steps of the subway to tell her she is a female and their flesh knows it, are they a sort of tune, an ugly enough song, sung by a bird with a slit tongue but meant for music? Or are they the muffled roaring of deafmutes trapped in a building that is slowly filling with smoke? Perhaps both. Such men most often look as if groan were all they could do, yet a woman, in spite of herself, knows it's a tribute: if she were lacking all grace they'd pass her in silence: so it's not only to say she's a warm hole. It's a word in grief-language, nothing to do with primitive, not an ur-language; language stricken, sickened, cast down in decrepitude. She wants to throw the tribute away, dis- gusted, and can't, it goes on buzzing in her ear, it changes the pace of her walk, the torn posters in echoing corridors spell it out, it quakes and gnashes as the train comes in. Her pulse sullenly had picked up speed, but the cars slow down and jar to a stop while her understanding keeps on translating: 'Life after life after life goes by without poetry, without seemliness, without love.

Something I'm working on, a possibly helpful spell to cast on yourself in adverse environments... Maybe a self compassion spell that might invite the ancient intelligences in their minute plurality to emerge from the tree line. I am alright in the essenceless stream of becoming I apprehend myself actually dancing with amazing terror while driving the shy and alone animal body itself imagining the breathing maze of dreaming mirrors it dreams itself lost in No one could be expected to do this properly your body in its suchness momentarily in paradise dreaming up all this agonic psychic carnivalia all over again "as the words rain down" like the feathers of birds of paradise that heartbreaking in their naked individuality and that incalculably fine, impossibly necessary to some really friendly abyss you never expected when you were that person sentenced to the futures your bad moods subjugated you to endless hotel hallways the room numbers in no order realizing you will never find yours again and that you must never stop searching laughing like an infant in a bathtub to enjoy the evanescent cartoon pandemonium of awareness while having kinds of relationships We do fine with our sentience for the most part. Thanks anyway. Void yet appearing overthinking sometimes.

When we’re talking about whether or not a story’s “time travel logic” makes sense, it is important to remember that every story builds its own framework for its own logic. In that sense, time travel is more of a fantasy-based story element than a science-based one. Time travel does not exist in the real world, and any broadly accepted rules for how it can and can’t work were derived from a bunch of “that guys” talking about time travel fiction. There is no “makes sense” in the universal sense – that is to say, criticizing a time travel story because its rules do not line up with rules in the real world is akin to dismissing the Harry Potter books because the conductive properties of wood could never sustain the energy required for spell casting. Approaching a time travel story with a dogmatic measuring stick in hand also denies the unique pleasure that the genre affords tinkerers. A good story’s internal logic is flawless, and everything in between its first and last word makes sense on its own terms. In that way, it presents the tinkerer with the literary equivalent of an Escher drawing. Internally, step by step, the logic of Escher’s staircase makes (or makes you believe it makes) nefariously perfect sense, and its dissonance with what we know to be possible is not something you have to “just accept and get over to enjoy it,” but is the very source of what’s enjoyable about it.

A striking example from the history of writing is the origin of the syllabary devised in Arkansas around 1820 by a Cherokee Indian named Sequoyah, for writing the Cherokee language. Sequoyah observed that white people made marks on paper, and that they derived great advantage by using those marks to record and repeat lengthy speeches. However, the detailed operations of those marks remained a mystery to him, since (like most Cherokees before 1820) Sequoyah was illiterate and could neither speak nor read English. Because he was a blacksmith, Sequoyah began by devising an accounting system to help him keep track of his customers’ debts. He drew a picture of each customer; then he drew circles and lines of various sizes to represent the amount of money owed. Around 1810, Sequoyah decided to go on to design a system for writing the Cherokee language. He again began by drawing pictures, but gave them up as too complicated and too artistically demanding. He next started to invent separate signs for each word, and again became dissatisfied when he had coined thousands of signs and still needed more. Finally, Sequoyah realized that words were made up of modest numbers of different sound bites that recurred in many different words—what we would call syllables. He initially devised 200 syllabic signs and gradually reduced them to 85, most of them for combinations of one consonant and one vowel. As one source of the signs themselves, Sequoyah practiced copying the letters from an English spelling book given to him by a schoolteacher. About two dozen of his Cherokee syllabic signs were taken directly from those letters, though of course with completely changed meanings, since Sequoyah did not know the English meanings. For example, he chose the shapes D, R, b, h to represent the Cherokee syllables a, e, si, and ni, respectively, while the shape of the numeral 4 was borrowed for the syllable se. He coined other signs by modifying English letters, such as designing the signs , , and to represent the syllables yu, sa, and na, respectively. Still other signs were entirely of his creation, such as , , and for ho, li, and nu, respectively. Sequoyah’s syllabary is widely admired by professional linguists for its good fit to Cherokee sounds, and for the ease with which it can be learned. Within a short time, the Cherokees achieved almost 100 percent literacy in the syllabary, bought a printing press, had Sequoyah’s signs cast as type, and began printing books and newspapers. Cherokee writing remains one of the best-attested examples of a script that arose through idea diffusion. We know that Sequoyah received paper and other writing materials, the idea of a writing system, the idea of using separate marks, and the forms of several dozen marks. Since, however, he could neither read nor write English, he acquired no details or even principles from the existing scripts around him. Surrounded by alphabets he could not understand, he instead independently reinvented a syllabary, unaware that the Minoans of Crete had already invented another syllabary 3,500 years previously.

The contrast between the two, the sweetness and the badness, wrenches the heart of the lover as such sweetness on its own would not, and the lover shudders all the more at dread of the beloved’s recklessness, for the sake of the sweetness that is there, and the shudder only makes more violent the shuddering that announces love (Phaedrus 251). I do not think, but for that sweetness, the friend of whom I spoke would have become impassioned as he did and he would have recognized that such a one, entirely wanting in the desire to become better than what he knows himself to be, was not worthy of his love. She who signs herself “I Don’t Know How (Or If) to Love Him” repeated the word “exciting” three times. A VBB (and let us remember that there are also, though perhaps they are rarer, VBGs) creates around himself or herself a separate world in which all that happens is exciting, for exciting it must be. Excitement is the air they breathe, and they cannot exist without it. And when they pull others into their world, then these others leave the world of common air and now they breathe the rare air of excitement, which they are not accustomed to, and in their confused state they are more apt to think that the excitement they breathe is the excitement of love. She asks whether she should continue to love her VBB, but I do not think she really loves him, just as he, and this for a certainty, does not love her. For I think even the best man of his day of whom I just wrote did not love that boy as he thought he did. Perhaps if your questioner thinks more on the true nature of the excitement she feels, she will be able to see the wisdom of the course of action that you and I both urge on her, and then she will find the strength to break the spell that her VBB casts upon her. Last, let her think on this, that though love is a profound disturbance, not all profound disturbances are love.

I had the most powerful magic, and the need to use it.  Lifting my right hand, I summoned forth my Mana, converted it into magic, and spoke my own word of power.  Much to her surprise, I could still cast with my right hand, despite its missing digits.   “You aren’t really going to do this, are you?” Shart asked.  He was making his way over to me with only the barest hint of floundering. “Hoopie!” The spell pierced her barrier, turning the now useless boundary a bright blue.  Her expression was a mix of terror and amazement as the spell bypassed her defenses and impacted her.  Her ass exploded in an echoing cacophony of flatulence. It was literally the loudest fart I’d ever heard.  As someone whose mother-in-law used to regularly drive people from the room with her anal symphonies, I considered myself an expert.  I highly suspected Bashara was the kind of lady who didn’t fart in public; she must have been saving that one up all day.  She blinked several times, as she checked her status log.  It was time to execute the second part of my plan. Grabbing Shart, amidst his squawking protests, I yelled my battlecry. “Poke-Shart, Go!” Then, I flung the invisible demon straight at her head. Shart only weighed thirty pounds or so; I was more than strong enough to fling him at a pretty good clip.  His cry of “you bastard” slowly faded the further he flew.     I had hoped that being hit in the face would knock her off balance.  That would have given me a moment to pick up my sword and close.  Actually, I hoped it was possible to hit her at all; despite Shart’s ability to fly, he wasn’t very aerodynamic.  I couldn’t win a spell duel, considering I had only one good hand and didn’t know any good spells.  I was going to have to engage her in combat.  I sincerely hoped that my invisible familiar would give me an advantage. I hadn’t calculated on hitting the top of her head with Shart’s Belly Button of Holding.  Her head disappeared, completely buried down to the top of her shoulders.  Her body, however, still worked.  She was careening around, her hands furiously pushing on the demon.  The remaining bandit, coincidentally, looked at Bashara just as her head vanished.  Incorrectly assuming that I had some sort of head vanishing spell, he tried to break and run.   You can’t run away from a homicidal badger.   I managed to get within arms’ reach of Bashara, just as she had successfully begun pushing Shart off her head. She had freed her mouth and was screaming.  As she continued pushing, her nose popped free.  I felt only slightly bad when I grabbed the demon and pushed him all the way down.  In seconds, only her feet were exposed.  Then, I pushed those in as well.

The Norse runes and the Hebrew alphabet are simple letters for spelling words, but also deep symbols of cosmic significance. This magical sense is preserved in our word for teaching children how to manipulate letters to make words: spelling. When you "spell" a word correctly, you are in effect casting a spell, charging these abstract, arbitrary symbols with meaning and power.

Words, no matter whether they are vocalized and made into sounds or remain unspoken as thoughts, can cast an almost hypnotic spell upon you. You easily lose yourself in them, become hypnotized into implicitly believing that when you have attached a word to something, you know what it is. The fact is: You don't know what it is. You have only covered up the mystery with a label. Everything, a bird, a tree, even a simple stone, and certainly a human being, is ultimately unknowable. This is because it has unfathomable depth. All we can perceive, experience and think about, is the surface layer of reality, less than the tip of an iceberg.

These comments you see on the internet about DR VOKE (DOCTORVOKE@GMAIL.COM) are not just comments, they are truthful words of experience written by those who have been there and found help in reuniting with the ones they hold dear to their heart and other marital and financial problems. I can tell you this because I also asked him for help to cast a spell to fix my relationship with the only woman I have ever loved. we got married but couldn't have a baby and then I discovered my wife was barren. I had to try some spell casters but to no avail until I contacted DR VOKE. HE restored my wife's womb and just like that she got pregnant, she has given birth now and our baby is growing. Thank God for our lives and also to DR VOKE who God has used to blessed us. I know that not everybody will believe this moreover its just something on the internet but my heart knows every of this word that formed this entire comment is true. his contact is: DOCTORVOKE@GMAIL.COM

Writers are disguised "sorcerers". Armed with their mighty pens, they cast spells on their readers using words that could pierce right through the heart and soul. If our writings moved you, made you cry, made you think deeper, and sort of changed your perspective about things, then we can say, we had you under our "spell". - Elizabeth Esguerra Castillo's Quotes

Dear Children, I am your dad. The father of all five of you pale creatures. Given how attractive and fertile your mother is, there may be more of you by the time you read this book. If you are reading this, I am probably dead. I would assume this because I can honestly foresee no other situation where you’d be interested in anything I’ve done. Right now, you are actually more interested in preventing me from doing things like working, sleeping, and smiling. I’m kidding, of course. Kind of. I love you with all of my heart, but you are probably the reason I’m dead. All right, you didn’t kill me. Your mother did. She kept getting pregnant! I don’t know how. Don’t think about it. It will give you the willies. At one point, I was afraid she got pregnant while she was pregnant. She was so fertile I didn’t even let her hold avocados. Anyway, this is a book all about what I observed being your dad when you were very young and I had some hair back in good old 2013. So why a book? Well, since you’ve come into my life, you’ve been a constant source of entertainment while simultaneously driving me insane. I felt I had to write down my observations about you in a book. And also for money, so you could eat and continue to break things. By the way, I’m sorry I yelled so much and did that loud clapping thing with my hands. I hated when my dad would do the loud clapping thing with his hands, so every time I do the loud clapping thing, it pains me in many ways. Most of the pain is because that loud clapping thing actually hurts my hands. You may be wondering how I wrote this book. From a very early age, you all instinctively knew I wasn’t that bright of a guy. Probably from all the times you had to correct me when I couldn’t read all the words in The Cat in the Hat. Hell, I find writing e-mails a chore. (Thank you, spell-check!) I wrote this book with the help of many people, but mostly your mother. Your mother is not only the only woman I’ve ever loved, but also the funniest person I know. When your mom was not in labor yelling at me, she made me laugh so hard. Love, Dad P.S. How did you get that hula hoop into that restaurant Easter 2011? Who’s Who in the Cast Jim Gaffigan (Dad).

The Modus Operandi of THE REGULUS CONCLAVE as spelled out in 1853! “We hold such and such opinions upon one point only; and that one point is, mutual interest, and under that; 1st, that we can govern this nation; 2d, that to govern it, we must, subvert its institutions; and, 3d, subvert them we will! It is our interest; this is our only bond. Capital must have expansion. This hybrid republicanism saps the power of our great agent by its obstinate competition. We must demoralize the republic. We must make public virtue a by-word and a mockery, and private infamy to be honor. Beginning with the people, through our agents, we shall corrupt the State. “We must pamper superstition, and pension energetic fanaticism—as on ’Change we degrade commercial honor, and make success the idol. We may fairly and reasonably calculate, that within a succeeding generation, even our theoretical schemes of republican subversion may be accomplished, and upon its ruins be erected that noble Oligarchy of caste and wealth for which we all conspire, as affording the only true protection to capital. “Beside these general views, we may in a thousand other ways apply our combined capital to immediate advantage. We may buy up, through our agents, claims upon litigated estates, upon confiscated bonds, mortgages upon embarrassed property, land-claims, Government contracts, that have fallen into weak hands, and all those floating operations, constantly within hail, in which ready-money is eagerly grasped as the equivalent for enormous prospective gains. “In addition, through our monopoly of the manufacturing interest, by a rigorous and impartial system of discipline, we shall soon be able to fill the masses of operators and producers with such distrust of each other, and fear of us, as to disintegrate their radical combinations, and bring them to our feet. Governing on ’Change, we rule in politics; governing in politics, we are the despots in trade; ruling in trade, we subjugate production; production conquered, we domineer over labor. This is the common-sense view of our interests—of the interests of capital, which we represent. In the promotion of this object, we appoint and pension our secret agents, who are everywhere on the lookout for our interests. We arrange correspondence, in cipher, throughout the civilized world; we pension our editors and our reporters; we bribe our legislators, and, last of all, we establish and pay our secret police, local, and travelling, whose business it is, not alone to report to us the conduct of agents already employed, but to find and report to us others, who may be useful in such capacity. “We punish treachery by death!” (from YIEGER'S CABINET or SPIRITUAL VAMPIRISM, published 1853)

Sometimes I wonder if man was really meant to discover magic,” Fogg said expansively. “It doesn’t really make sense. It’s a little too perfect, don’t you think? If there’s a single lesson that life teaches us, it’s that wishing doesn’t make it so. Words and thoughts don’t change anything. Language and reality are kept strictly apart—reality is tough, unyielding stuff, and it doesn’t care what you think or feel or say about it. Or it shouldn’t. You deal with it, and you get on with your life. Little children don’t know that. Magical thinking: that’s what Freud called it. Once we learn otherwise we cease to be children. The separation of word and thing is the essential fact on which our adult lives are founded. But somewhere in the heat of magic that boundary between word and thing ruptures. It cracks, and the one flows back into the other, and the two melt together and fuse. Language gets tangled up with the world it describes. I sometimes feel as though we've stumbled on a flaw in the system, don't you? A short circuit? A category error? A strange loop? Is it possible that magic is knowledge that would be better off forsworn? Tell me this: Can a man who can cast a spell ever really grow up?

The only wild card that can derail the current luciferian cycle of organized chaos toward a New World Order is the body of Christ: If my people, which are called by my name, shall humble themselves, and pray, and seek my face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land. (2 Chronicles 7:14) The Word does not tell us that the Elite conspirators must repent and pray. God instructs the body of Christ to do so. If we can wake up from the Babylonian spell of slumber that the Elite have cast upon us and return to true spiritual/biblical disciplines, we

She cackles. “What am I then? A Witch? How nice would that be?” “I think you could be, in your own way. Just ‘cause you aren’t out there riding brooms or casting spells with a wispy stick or willowy words doesn’t mean that you aren’t magical.

Prayers aren't reserved for those who regularly go to church, or to a synagogue, or to a mosque, or wherever. Prayers are for everyone. Even spells and curses aren't just for those who own cauldrons, or broomsticks, or crystal balls. We're all saying prayers and casting spells with our words, and our thoughts, and where we point our fingers.

The word is pure magic — the most powerful gift we have as humans — and we use it against ourselves. We plan revenge. We create chaos with the word. We use the word to create hate between different races, between different people, between families, between nations. We misuse the word so often, and this misuse is how we create and perpetuate the dream of hell. Misuse of the word is how we pull each other down and keep each other in a state of fear and doubt. Because the word is the magic that humans possess and misuse of the word is black magic, we are using black magic all the time without knowing that our word is magic at all. There was a woman, for example, who was intelligent and had a very good heart. She had a daughter whom she adored and loved very much. One night she came home from a very bad day at work, tired, full of emotional tension, and with a terrible headache. She wanted peace and quiet, but her daughter was singing and jumping happily. The daughter was unaware of how her mother was feeling; she was in her own world, in her own dream. She felt so wonderful, and she was jumping and singing louder and louder, expressing her joy and her love. She was singing so loud that it made her mother’s headache even worse, and at a certain moment, the mother lost control. Angrily she looked at her beautiful little girl and said, “Shut up! You have an ugly voice. Can you just shut up!” The truth is that the mother’s tolerance for any noise was nonexistent; it was not that the little girl’s voice was ugly. But the daughter believed what her mother said, and in that moment she made an agreement with herself. After that she no longer sang, because she believed her voice was ugly and would bother anyone who heard it. She became shy at school, and if she was asked to sing, she refused. Even speaking to others became difficult for her. Everything changed in the little girl because of this new agreement: She believed she must repress her emotions in order to be accepted and loved. Whenever we hear an opinion and believe it, we make an agreement, and it becomes part of our belief system. This little girl grew up, and even though she had a beautiful voice, she never sang again. She developed a whole complex from one spell. This spell was cast upon her by the one who loved her the most: her own mother. Her mother didn’t notice what she did with her word. She didn’t notice that she used black magic and put a spell on her daughter. She didn’t know the power of her word, and therefore she isn’t to blame. She did what her own mother, father, and others had done to her in many ways. They misused the word. How

Try it—write down a precise sequence of curse words that takes 7 to 10 seconds to read. Then, before a creative work session of some type, read it quickly and loudly like you’re casting a spell or about to go postal. Eric also finds late nights, around 3 a.m., to be ideal for deep creative work.

Language has infinite power and as long as there’s Romeo and Juliet or Laila and Majnu or You and Me, as long as there’s love in the world, language will find a way to cast its spell.

Tanis at first wondered what the mage was studying, then realized it was his spellbook. It is the curse of the magi that they must constantly study and recommit their spells to memory every day. The words of magic flame in the mind, then flicker and die when the spell is cast. Each spell burns up some of the magician’s physical and mental energy until he is totally exhausted and must rest before he can use his magic again.

TO COMFORT   In her being here we have begun to prevail, having undone the enigmatical quality of question. She tells me softly, her words being sound to my ears like the scent of sweet nectar to the first flying creature introduced to spring. She kindly whispers as she brushes my hair and rubs my back, she trying to calm my troubled heart. Being kind to her wishes I reach up to kiss the grenadine from her petaled lips as she receives me with absolutely all that is left of her.   Hearing her voice become calm and tender from the glow of our kiss, her eyes fill with a love that trembles with affection. I stop to pull her closer to me, standing with her along a wet and steamy trail that slowly absorbs the fresh rain. I kiss her sweet lips, passionately holding her lips to me beneath a tree that shades us in a kiss. And now I can only anticipate the moment when she will again be in my arms and under this spell that I cast for only her.   She gives me everything just by letting me hear her voice. Every time that she looks at me with those eyes I wonder how I’ll ever be able to repay her. Catching the raw emotion that has begun to slip from her, I respond with a smile, feeling my heart bend just a little to the very sound of her voice.

Lewis's point is that Feurbach and Freud have cast a spell over Western culture, aiming to convince us that they are right and we are wrong. They present their speculative theories as if they were self-evident truths: Only a fool would think there is a God! Lewis helps us see that, in the first place, their approach is only a theory, and in the second, it is not a particularly plausible theory. It's only one way of looking at things - which is what the word theory really means - and there are other (and better) ways of seeing. Lewis's story gives us another way of looking at this "projection" theory, which makes us see that it is far more vulnerable than we might otherwise have realized.

Namely, English spelling is hideous in large part because it represents what English was like before the Great Vowel Shift happened. That neatly demonstrates that vowels really are as liquid as I am presenting, and that what happens to them can neither be said to “ruin” the language nor be dismissed as bubblegum static, since no one wishes we could go back to talking the way Chaucer did. Here’s what I mean. Why would any sane person write mate and pronounce it “mayt”? We’re used to being taught that this is a “long” a and that the “silent” e is our clue to that. But clearly no one would design a system this way. If people in France and Spain and seemingly everywhere else on earth were writing the “ay” sound as e, what was the sense of instead bringing in an a and signaling that it, instead of e, is pronounced “ay,” and by putting a “silent” e at the end of the word? Why e? Or why use any sound at all as standing for absence instead of, duh, not writing anything there? While understanding that customs differ across the ages, we can be quite sure no writerly caste decided on such nonsense as a writing system. Sure, some eccentric medieval scribe could have arbitrarily decided on such a system, but why on earth would it have been accepted across England? When something makes that little sense, usually it was created amid conditions now past in which they did make sense. And indeed, time was that mate was actually pronounced the way one would expect: MAH-tay. The final -ay, unaccented, wore off over time just as the -ther in brother has worn off among men saluting each other such that guys of a certain demographic call each other “bruh” and one might call one’s sister “sis”—that’s easy. “Mahtay” became “maht.” But why don’t we just say “maht” today? Because likely the vowel moved, and this one did.

Silence reigned; and any sound, such as the fluttering of birds or the rustling of fallen leaves, struck one as being unnaturally loud, and caused a shuddering start, which soon died away into that torpid stillness which seemed to encompass the earth and cast a spell over the heart. In such moments as these are born thoughts of a peculiar purity--ethereal thoughts, thin, transparent as a cobweb, incapable of being expressed in words. They come and go quickly, like falling stars, kindling a flame of sorrow in the soul, soothing and disturbing it as at the same time; and the soul is, as it were, on fire, and, being plastic, reveives an impression which lasts for all time.

He hopped down and started going through my scrolls.  He handed one to me.  “Try this next.” ● Fireball: Shoot a pea-sized ball of fire from your hand. It will explode on contact, damaging a base 10-foot radius, cost 30 Mana, base Damage 12. Would you like to learn? (Yes/No) Grinning like an idiot, I learned fireball and immediately prepared to cast it. I summoned up the fire power necessary to cast the spell, held my hand in the correct position, and said the word of power.  “Noodle,” I called. These words of power make no sense whatsoever.

There is an enchanted world, where wrong is right, and the best seems worse. In this world, there are creatures that do not know they live under a spell, for they are too obsessed about the cycles of their existence to realize each cycle was cast upon them from behind the walls of what they think is real. The magic that descends upon the intellect of the habitants of such world is so powerful that they do not know where the limits of their actions transpose them to the realm of faith, or how many doors their trust can open and betrayal can close. They choose to have no consciousness of that! Instead, they go deeper in their mind, as the walls of this world close on them, like a prison of glass that shrinks in size. They accept what is sufficient as being enough, and take upon the glory of their life through the things that are naturally given, such as their nation, food and appearance. They do not know they are not alive, or even perceive death as a faithful companion. And in this world, I found you, but you could not see me, for you could not understand my words. These words were nothing but wind in your ears, for you were not awaken, and my fairytale was your reality.

In a giddy tone I announced, “Operation Demon Days, Hexy Knights. Knight with a ‘K’.” Someone groaned. Matthias grimaced. “Absolutely not. It’s ridiculous.” “It’s perfect!” Blake picked me up for a quick twirl around. “I’m a Hexy Knight. I love having her in the group.” “No,” Matthias said. “She’s not—we’re not keeping her.” What am I, a stray?” Jayden shook his head. “‘Hexy’ isn’t even a word.” Tristan frowned. “It makes us sound like wizards casting spells.” “No, dude. It makes us sound sexy.” “It makes us sound stupid,” Matthias said. As Blake settled me back on the checkered blanket, I huffed, “Well, thank you Professor of the Dark Arts.” “Aren’t you the clever sheila. Really dug deep for that one.

Words, no matter whether they are vocalized and made into sounds or remain unspoken as thoughts, can cast an almost hypnotic spell upon you. You easily lose yourself in them, become hypnotized into implicitly believing that when you have attached a word to something, you know what it is. The fact is: You don’t know what it is.

And they become more powerful," she went on, "the more that they're said and read and written, in specific, consistent combinations. "The key to casting a spell is tapping into that power. Not just saying the words, but summoning their meaning.

That night, as I lay in bed with “Rue des trois frères” by Fabrizio Paterlini playing on my turntable, her presence lingered in my thoughts, casting a gentle spell upon my mind. The memory of our conversation replayed like a melodic refrain, each word resonating within me. It was a feeling I had never experienced before, a mixture of intrigue, excitement, and a newfound sense of connection.

I’d gathered from Professor Banefield that once a fearmancer had a handle on their abilities, they started coming up with their own private words for the spells they wanted to cast. Eventually you’ll be able to come up with the sounds and connect them to your meaning on the spot, he’d said. If no one can understand what you’re saying, no one can predict how you’re working the magic before it hits them.

Love! How many legends were organized for it? It was said that it is the most mysterious human feeling that pushes us to do things we are not ready for and heedless of us. Despite the reality, and the difficulties, we do the impossible, and in the name of love, we do miracles. Just legends but the truth is that history did not mention that any miracle has happened thanks to love. Myths, of which there is no use but our consolation, and the justification of our blind rush behind unjustified, incomprehensible feelings, to do what we were not ready to do, and then we pay the price with a reassuring conscience, and with a comfortable mind, in the name of love. If we analyze these feelings, love, anger, hate, tranquility, fear, we will find that they are another face of pain, just chemical reactions inside our bodies, and hormones controlled by our mind, it decides when to kindle the fire of love in us, and when to make hate blind us. If you know how to motivate the mind to produce the hormone needed to produce the desired emotions, then you do not have to talk about anything anymore. It is all your emotions, which are yours. This inevitably makes human feelings subject to causation in the universe, unless our feelings are from another world, not causal. Therefore, the most magical words remain, those that come out of the mouth of a lover describing his love for his lover, “I love you without reason.” This is the impossibility desired, and in the subconscious, these words have charm and glamour, and the tongue of the lover says, “My love for you is not from this causal world, neither the color of your hair, nor your eyes, nor your body, nor your sweet voice, nor your way of speaking, nor anything that you possess is a reason why I love you, because my love for you is not causal, does not belong to this world.” A lie loved by the mind of the lovers, a legend among the millions which says, that nothing in this world can anticipate the feelings and moods of human beings before they occur, and more precisely, the private feelings and fluctuations, of an individual, to be precise, and not just of a large group of people, the more we try to customize it, the more difficult it becomes. And where the indicators of the collective mind, the demagogue, can give us an idea of the general direction and the future fluctuations of a society or group of people, not because of a weakness in the lines of defense of feelings, but rather because we know that the mob, the collective mind, and the herd, will force many to follow it, even if it violates what they feel, what they want at their core. The mind is designed for survival, and you know that survival’s chances are stronger with the stronger group, the more number, it will secrete all the necessary hormones, to force you to follow the herd. However, the feelings assigned to a particular person remain an impossible task, so many people are able to deceive each other by showing signs of expected trends and fluctuations that contradict the reality of what they feel. Humans and scientists have treated it as something unpredictable, coming from another world, a curse on science, as if it were a whiff of a magical spell cast on us from the immemorial. But in fact, emotions are causal, and every cause has a causative. Like everything else in this world, the laws of chaos and randomness apply to them. They can be accurately predicted, formulated into mathematical equations, and even manipulated. All it takes is to have something that contains all the cosmic events, a number we did not imagine, starting with the flutter of a butterfly, a breath of air, temperatures across the universe, a word a man says to his son, a donkey’s kick, a rabbit’s jump, and ending with the movement of stars and planets, and cosmic explosions, and beyond, and able to deal with them, and with the hierarchical possibilities of their occurrence.

At all these studies Ged was apt, and within a month was bettering lads who had been a year at Roke before him. Especially the tricks of illusion came to him so easily that it seemed he had been born knowing them and needed only to be reminded. The Master Hand was a gentle and lighthearted old man, who had endless delight in the wit and beauty of the crafts he taught; Ged soon felt no awe of him, but asked him for this spell and that spell, and always the Master smiled and showed him what he wanted. But one day, having it in mind to put Jasper to shame at last, Ged said to the Master Hand in the Court of Seeming, 'Sir, all these charms are much the same; knowing one, you know them all. And as soon as the spell-weaving ceases, the illusion vanishes. Now if I make a pebble into a diamond-' and he did so with a word and a flick of his wrist 'what must I do to make that diamond remain diamond? How is the changing-spell locked, and made to last?' The Master Hand looked at the jewel that glittered on Ged's palm, bright as the prize of a dragon's hoard. The old Master murmured one word, 'Tolk,' and there lay the pebble, no jewel but a rough grey bit of rock. The Master took it and held it out on his own hand. 'This is a rock; tolk in the True Speech,' he said, looking mildly up at Ged now. 'A bit of the stone of which Roke Isle is made, a little bit of the dry land on which men live. It is itself. It is part of the world. By the Illusion-Change you can make it look like a diamond -or a flower or a fly or an eye or a flame-' The rock flickered from shape to shape as he named them, and returned to rock. 'But that is mere seeming. Illusion fools the beholder's senses; it makes him see and hear and feel that the thing is changed. But it does not change the thing. To change this rock into a jewel, you must change its true name. And to do that, my son, even to so small a scrap of the world, is to change the world. It can be done. Indeed it can be done. It is the art of the Master Changer, and you will learn it, when you are ready to learn it. But you must not change one thing, one pebble, one grain of sand, until you know what good and evil will follow on that act. The world is in balance, in Equilibrium. A wizard's power of Changing and of Summoning can shake the balance of the world. It is dangerous, that power. It is most perilous. It must follow knowledge, and serve need. To light a candle is to cast a shadow...' He looked down at the pebble again. 'A rock is a good thing, too, you know,' he said, speaking less gravely. 'If the Isles of Earthsea were all made of diamond, we'd lead a hard life here. Enjoy illusions, lad, and let the rocks be rocks.' He smiled, but Ged left dissatisfied.

Love, with its symphony of emotions, orchestrates a profound dance in the brain. It casts spells of euphoria, joy, and obsession, making us both foolish and passionate. Yet, amidst this complex ballet, I can't help but perceive it as an unnecessary drama.

Lately, and more so each day, memory seems a spell I cast on myself—some details I can check without breaking the spell, like whether I know suitable wording for the incantation, and others I can’t check, like whether magic is real. If I check what Five Oaks looked like, I might stop seeing it in my memory; what little I still remember might vanish—if I want to keep my memories, I can’t be sure I remember them correctly. The same is true for most people, I think, a version of the same phenomenon, though hopefully for most people the experience of it is less extreme. But maybe the experience is just as extreme, even more extreme, for other people who have suppressed their most painful memories. But also the mind seems to develop a taste for eating memories, and bites holes into those it doesn’t swallow whole—I’ve felt the correction of a memory via photographic evidence, for example, and more than once I’ve felt this not as a moment of satisfaction, but as a moment of sudden hunger.

dresses, her hair long and wispy, and she waved her hands around when she described a story, as if casting a spell. Come back, Aunt Maude, Astrid thinks in desperation. I need you. You still have life left in you. Her head throbs—her stomach hurts. She hasn’t eaten since breakfast. But she can’t leave Maude’s side, not yet. “I’m sorry I didn’t visit you before,” Astrid says softly. “It was too hard to come back here.” Aunt Maude never pushed—until recently. She called, wrote letters with her fountain pen—often smudging the words—and sent gifts. She even visited Astrid in California now and then. But she never lamented the fact that her family no longer visited Heron Bay. I should’ve been here for her, Astrid thinks. “Miss Johansen?” a soft voice says behind her. Astrid turns, and Dr. Sawari summons her to the door. Compact and quick on her feet, the doctor sports a shiny black ponytail, her eyes a startling, intense green. She seems too young to take charge of Aunt Maude’s care.

He read the poem like he loved the poem, intoning phrases as though they cast spells. In his voice, language was erotic and voluptuous—and he lingered for a moment in delicious places. I thought, I want to belong somewhere the way that stranger’s voice belongs to those words.

a lot of words we use to describe an attractive person used to be words for magic. Like the word “charm” originally meant a magic spell, and the word “glamour” did, too. And it’s just blatant with words like “enchanting” and “spellbinding.” And when he said that, I thought, yeah, that’s what it’s like: seeing a really good-looking person is like having a magic spell cast over you. And Anton was saying how one of the primary uses of magic was to create love and desire in someone. And that makes total sense, too, when you think about those words “charm” and “glamour.” Because seeing beauty feels like love. You feel like you’ve got a crush on a really good-looking person, just by looking at them.

Every human is a magician, and we can either put a spell on someone with our word or we can release someone from a spell. We cast spells all the time with our opinions. An example: I see a friend and give him an opinion that just popped into my mind. I say, “Hmmm! I see that kind of color in your face in people who are going to get cancer.” If he listens to the word, and if he agrees, he will have cancer in less than one year. That is the power of the word.

With equanimity, you see into the transient and imperfect nature of experience, and your aim is to remain disenchanted—free of the spells cast by pleasure and pain. In this—rather Buddhist—sense of the word, disenchanted, you are not disappointed or dissatisfied with life; you simply see through its apparent charms and alarms and are not knocked off center by either.

hidden in the center caught the moonlight, casting a spell on my heart. He offered his arm. When I hesitated, he took my hand and placed it on the crook. He pressed my fingers closed with his own, and again I shivered. Though fabric was between us I felt the solid muscle hidden beneath. My body responded, confusing me with the effects of alcoholic spirits and desire. My legs became noodles, forcing me to lean into Oliver for support. He smiled, closing his hand over mine and holding tight. “I fear the refreshments have gone to my head. I’ve not been out in a while and indulged a little more than I should have.” My comment earned me a look of surprise. “A little more?” “Yes. A pinch.” I emphasized the point by gesturing with my thumb and index finger. “Hmm.” He paused for the thought. “Then I suppose we must get you out more to build up your tolerance. We can’t have you tripping every time you drink champagne.” A small giggle escaped me, earning a wink and a smile from a man whose presence, at the moment, caused my body to react on its own—and I liked it. “Now, that’s what I like to hear, the sound of laughter.” His voice dropped lower. “Yours is delightful.” My blood rushed with heat. His words and tone were deep, dark, and exciting, and caused a clenching sensation of my most intimate parts.

It’s still shit,” I tell him, “no matter which way you spell it.” “You would be the expert on four-letter words since your vocabulary consists almost entirely of them.” I cast a fucking glare his way.

The concept of witchcraft has existed for centuries upon centuries, perhaps since the beginning of time. The word "witch" probably conjures up images of fair maidens or old crones who use cunning and magical abilities to wreak havoc on their neighbourhood. As it turns out, your opinion about witches is not only wrong but also dated.

And so began the years of my internment, where I was locked away from all human things, imprisoned in my solitude like Rapunzel imprisoned in the tower. I knew instinctively that I was still very much alive within the tomb, that what was good and kind and loving and generous in me still existed in the very depths of my being, buried beneath layers of fire and ice. But I also knew that I was incapable of rising from the tomb myself, of bursting forth on my own through the thick layers that surrounded me. It was as if a spell had been cast; the only thing that could break it now was a human word, a human touch. Which never came.

Luca leans forward, propping his elbows on the bar table, and I think he’s going to ask me something, maybe what some particularly nonsensical Coldplay lyrics mean: but instead he starts to speak in Italian, so smoothly, the words so soft and liquid, that I swiftly realize he’s quoting some lyrics. The words flow over me, winding around me like velvet: “‘Ci sono trenta modi per salvare il mondo, ma uno solo perche il mondo salvi me--che io voglia star con te, e tu voglia star con me.’” I gaze at him, and now I do feel hypnotized. I have no idea what he’s saying--he could be reading the phone book in Italian and I’d stare at him across the little bar table, unable to take my eyes from him. “That is from a song by Jovanotti. Shall I translate for you?” he asks gently. All at once, I panic. What if the words are so lovely I can’t bear them? It’s as if he’s casting a spell over me, and I need to break free before it settles so tightly around me that I’m completely in his power.

Words Cast Spells —that’s why it’s called spelling Self-talk, affirmations, incantations and magic spells are all forms of ‘I create

M" Mnemosyne’s silent M drives me to the dictionary Her baby sister makes an n run. Youth does not tarry Those diaphanous, luminescent water jellies, Mnemiopsis, small as sneezes, I can only conjure as Knee me up, Sis Spelling? Easier to recall these beauties as invasive carnivorous, cannibalistic, and hermaphroditic (They eat each other and fuck themselves) Mnemonic is a device that helps me remember birthdays and phone numbers of those I no longer love but can recall in traces Or how to sequence pi to a thousand places as Guinness names me a mnemonist. Or my own birthday because my mother died the day before Just a handful of words end in mn, and the soul they limn: autumn, solemn, damn, condemn, the a capella hymn But hundreds contain mn. A standout: that Jurassic cephalopod, belemnite, long gone, yet its name and phallic fossil live on And should those Siamnese twins stand at the head, they’re led by a vowel that takes m by the hand and leaves n to bed another syllable. Amnesia. You are what you forget Still, the mother of all muses has a name hard to set Mnemiopsis, mnemonist, mnemonic, Mnemosyne— such elegance I should be able to recall: these words all begin with silence Perhaps her name once began with A: Out one day, bathing carefree in the Aegean, she fell for a creature she could feel but not see— say, a tentacled jelly—got entangled with the beast, lost the A, Tore her chiton, and returned in disarray Zeus said, Where’s the A I gave you on the birth of Calliope? She, recalling his trysts, yet savoring her berth, wanted no scene Saw in backward glance, the gem wedged in coral’s gritty teeth A’s so plebeian. Words are rife. Alcmene, Europa, Hera, adultery Few can spell my name yet spell I cast when lives are spent I am the Titan Mnemosyne, Goddess of All Memory, and off she went leaving Zeus to rue her gift and curse Yet wise manager, was hers not the golden purse?

For all the monsters who are still waiting to be loved. Of course, my faith was tested. Isn't that always the way? The trouble with people is that unlike gods or bodhisattvas, we are only mortals, and so destined to disappoint and even harm one another. It wasn't just my world that was falling apart. It was everyone's. So I wrote. I wrote as though I might be casting a spell or chanting a religious litany. I wrote as though poetry and prayer might mean the same thing, as if words might reconnect me with what I once considered my unshakable relationship with the human divine. I wrote to summon the language that might help me fall back in love with being human. I wrote my way through the question: What happens when we imagine loving the people-and the parts of ourselves-that we do not believe are worthy of love? What emerged was a series of love letters to unexpected people and places, to the parts of the world and my own self that I thought were beyond saving. Yes, dear reader. This is a book of love letters- to dead people, to exes, to prostitutes and johns. Love letters to weirdos and monsters, to transphobes and racists, to everyone and everything I have ever had trouble holding in my heart. I needed to know that I could love them, because that meant I could still love myself- as hopeless and lost as I had become. From the depths of my rage and despair, I needed to find my way back to love. This book is my act of prayer in a collapsing world. My devotion to the belief that we are all intrinsically sacred. My bridge back to hope.

This is it,” Orion breathed and we turned to read the words as he held out the book. A spell was laid out to strip the newly acquired Elements from King, the answer right there before us. We needed Vampire blood to pull it off as part of a potion which Ryder immediately started writing down the ingredients to. To speed the process up, a Vampire could feed on the vessel once the Elements had been stripped away while the spell was being chanted to draw the stolen magic out of them faster, but it wasn’t necessary. But if a Vampire didn’t do that then it would take a lot longer to rip the stolen magic out of the host and that would give King more time to fight back. One glance at Elise told me she was fully planning to drain every last drop of stolen power out of King the moment she could and I swallowed down the fear that sparked in me. “There’s a warning here,” Orion said gravely, pointing to a small footnote at the base of the page. “It says that though a Vampire can drain the stolen power faster, they must act quickly to release it into the sky where it belongs. If not, the power will work to corrupt them, feeding into their bloodlust and making a demon out of them.” “We shouldn’t risk it,” I said, reaching for Elise’s hand. “We can just contain King and use the spell to force the magic out of them without you draining it.” “And what if that takes too long?” Elise demanded. “Our girl won’t be corrupted by the power,” Leon said confidently, reaching out to brush his fingers through her hair. “I just have to release it the moment I steal it. Simple,” she agreed but as I cast a look at Orion he didn’t seem at all convinced. “Dark magic lures you in unlike anything you could possibly understand without having experienced it,” he warned. “I’d think very carefully about doing this before you charge in and attempt it.” “Okay,” Elise agreed, raising her hands in surrender. “I won’t bite the fucker to drain them unless everything starts going to shit and I don’t have any other choice.” “I think that’s for the best, bella,” Dante agreed.