Writing Postcards Quotes

Karl Marx: "Religion is the opiate of the masses." Carrie Fisher: "I did masses of opiates religiously.

The world before us is a postcard, and I imagine the story we are writing on it.

Ah yes, the head is full of books. The hard part is to force them down through the bloodstream and out through the fingers.

What did you write on the back of the postcard?” “It was going to be a surprise.” “I’m too old for surprises. Besides, surprises always come with a sharp edge that is meant to hurt. I don’t want to be hurt—not by you. Tell me.” “Just two words.” “Let me guess: If not later, when?” “Two words, I said. Besides, that would be cruel.” I thought for a while. “I give up.” “Cor cordium, heart of hearts, I’ve never said anything truer in my life to anyone.

What is the essence of the art of writing? Part One: Have something to say. Part Two: Say it well.

Embrace those parts of yourself that you've skillfully avoided until now. That's your true adventure.

I would like to evoke the sense of wonder and magic in the reader but without invoking the mystical, the supernatural or the transcendent.

As for writing, that's a cruel hard business. Unless you're very lucky it'll break your heart.

But it is a writer's duty to write and speak and record the truth, always the truth, no matter whom may be offended.

Vonnegut is one of America's basic artists, a true and worthy heir to the grand tradition of Thoreau, Whitman, Twain, Dreiser, Traven, Tom Wolfe (the real Tom Wolfe, I mean) and Steinbeck. In other words, he writes out of a concern for justice, love, honesty, and hope.

When I want to write something I just sit down (or stand up) and do it. Scribble, scribble, nothing could be easier. It helps, naturally, to have something to say.

To the Technocrats: Have mercy on us. Relax a bit, take time out for simple pleasures. For example, the luxuries of electricity, indoor plumbing, central heating, instant electronic communication and such, have taught me to relearn and enjoy the basic human satisfactions of dipping water from a cold clear mountain stream; of building a wood fire in a cast-iron stove; of using long winter nights for making music, making things, making love; of writing long letters, in longhand with a fountain pen, to the few people on this earth I truly care about.

Certainly, I want to capture the reader's attention from the beginning and hold it until the end: that is half the purpose of my art. The other half must be to tell my story in the most honest way that I can.

There are only two living American authors fully deserving of the Nobel Prize. One is Lewis Mumford. The other is Wallace Stegner, whose novels and essays provide us a comprehensive portrait of industrial society in all its glittering corruption and radiant evil.

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.

[I]t is the writer's duty to write fiction which promotes virtue, the good, the beautiful, and above all, the true. ... It is the writer's duty to hate injustice, to defy the powerful, and to speak for the voiceless. To be ... the severest critics of our own societies.

This poem is very long So long, in fact, that your attention span May be stretched to its very limits But that’s okay It’s what’s so special about poetry See, poetry takes time We live in a time Call it our culture or society It doesn’t matter to me cause neither one rhymes A time where most people don’t want to listen Our throats wait like matchsticks waiting to catch fire Waiting until we can speak No patience to listen But this poem is long It’s so long, in fact, that during the time of this poem You could’ve done any number of other wonderful things You could’ve called your father Call your father You could be writing a postcard right now Write a postcard When was the last time you wrote a postcard? You could be outside You’re probably not too far away from a sunrise or a sunset Watch the sun rise Maybe you could’ve written your own poem A better poem You could have played a tune or sung a song You could have met your neighbor And memorized their name Memorize the name of your neighbor You could’ve drawn a picture (Or, at least, colored one in) You could’ve started a book Or finished a prayer You could’ve talked to God Pray When was the last time you prayed? Really prayed? This is a long poem So long, in fact, that you’ve already spent a minute with it When was the last time you hugged a friend for a minute? Or told them that you love them? Tell your friends you love them …no, I mean it, tell them Say, I love you Say, you make life worth living Because that, is what friends do Of all of the wonderful things that you could’ve done During this very, very long poem You could have connected Maybe you are connecting Maybe we’re connecting See, I believe that the only things that really matter In the grand scheme of life are God and people And if people are made in the image of God Then when you spend your time with people It’s never wasted And in this very long poem I’m trying to let a poem do what a poem does: Make things simpler We don’t need poems to make things more complicated We have each other for that We need poems to remind ourselves of the things that really matter To take time A long time To be alive for the sake of someone else for a single moment Or for many moments Cause we need each other To hold the hands of a broken person All you have to do is meet a person Shake their hand Look in their eyes They are you We are all broken together But these shattered pieces of our existence don’t have to be a mess We just have to care enough to hold our tongues sometimes To sit and listen to a very long poem A story of a life The joy of a friend and the grief of friend To hold and be held And be quiet So, pray Write a postcard Call your parents and forgive them and then thank them Turn off the TV Create art as best as you can Share as much as possible, especially money Tell someone about a very long poem you once heard And how afterward it brought you to them

Sometimes we have to break down to break through.

I suppose you think you know what autumn looks like. Even if you live in the Los Angeles dreamed of by September’s schoolmates, you have surely seen postcards and photographs of the kind of autumn I mean. The trees go all red and blazing orange and gold, and wood fires burn at night so everything smells of crisp branches. The world rolls about delightedly in a heap of cider and candy and apples and pumpkins and cold stars rush by through wispy, ragged clouds, past a moon like a bony knee. You have, no doubt, experienced a Halloween or two. Autumn in Fairyland is all that, of course. You would never feel cheated by the colors of a Fairyland Forest or the morbidity of a Fairyland moon. And the Halloween masks! Oh, how they glitter, how they curl, how their beaks and jaws hook and barb! But to wander through autumn in Fairyland is to look into a murky pool, seeing only a hazy reflection of the Autumn Provinces’ eternal fall. And human autumn is but a cast-off photograph of that reflecting pool, half burnt and drifting through the space between us and Fairyland. And so I may tell you that the leaves began to turn red as September and her friends rushed through the suddenly cold air on their snorting, roaring high wheels, and you might believe me. But no red you have ever seen could touch the crimson bleed of the trees in that place. No oak gnarled and orange with October is half as bright as the boughs that bent over September’s head, dropping their hard, sweet acorns into her spinning spokes. But you must try as hard as you can. Squeeze your eyes closed, as tight as you can, and think of all your favorite autumns, crisp and perfect, all bound up together like a stack of cards. That is what it is like, the awful, wonderful brightness of Fairy colors. Try to smell the hard, pale wood sending up sharp, green smoke into the afternoon. To feel to mellow, golden sun on your skin, more gentle and cozier and more golden than even the light of your favorite reading nook at the close of the day.

But hell, I do like to write letters. Much easier than writing books.

What did you write on the back of the postcard?” “It was going to be a surprise.” “I’m too old for surprises. Besides, surprises always come with a sharp edge that is meant to hurt. I don’t want to be hurt—not by you. Tell me.” “Just two words.” “Let me guess: If not later, when?” “Two words, I said. Besides, that would be cruel.” I thought for a while. “I give up.” “Cor cordium, heart of hearts, I’ve never said anything truer in my life to anyone.

[R]eality and real people are too subtle and complicated for anybody's typewriter, even Tolstoy's, even yours, even mine.

Keep moving. Your next big thing may be just around the corner.

When life hands you lemons, why stop at lemonade? Create an entire product line.

Whether by plane, bus or carpet, own the magic in your ride.

I write small poems— the kind that fit on a postcard… and still can break your heart

He looked across the small table at Alec Lightwood, who was ignoring the glitter and glamour of Paris in order to write postcards to his family back home, and smile. Each time he finished a postcard, Alec wrote Wish you were here at the end. And each time, Magnus snatched the card and wrote, with a flourish, Except not really.

What I am really writing about, what I have always written about, is the idea of human freedom, human community, the real world which makes both possible, and the new technocratic industrial state which threatens the existence of all three. Life and death, that's my subject, and always has been - if the reader will look beyond the assumptions of lazy critics and actually read what I have written. Which also means, quite often, reading between the lines: I am a comic writer and the generation of laughter is my aim.

Of course we will send postcards to Nutsawoo. And we shall bring him back a present as well. In fact,' she went on, with the instinctive knack every good governess has for turning something enjoyable into a lesson, and vice versa, 'I will expect all three of you to practice your writing by keeping a journal of our trip so that Nutsawoo may know how we spend our days. Why, by the time we return, he will think he has been to London himself! He will be the envy of all his little squirrel friends,' she declared. Penelope had no way of knowing if this last statement was true. Could squirrels feel envy? Would they give two figs about London? Did Nutsawoo even have friends?

Our lives follow the stories we tell ourselves.

Give full attention to life’s moments and the images you capture will be everlasting.

I made her promise to write, but artists are artists, not writers. She did send postcards, though: a lot of postcards—sometimes

So I write mainly for the fun of it, the hell of it, the duty of it. I enjoy writing and will probly be a scribbler on my dying day, sprawled on some stony trail halfway between two dry waterholes.

Once on yellow sheet of paper with green lines, he wrote a poem and he called it “Spot” because that was the name of his dog and that’s what it was all about and his teacher gave him an “A” and a big gold star and his mother hung it on the kitchen cupboard and showed it to his aunt and that was the year his sister was born-and his parents kissed all the time and the little girl around the corner sent him a postcard with a row of X’s on it and his father tucked him into bed at night and was always there. Then on a white sheet of paper with blue lines, he wrote another poem and he called it “Autumn” because that was the time of year and that’s what it was all about and his teacher gave him an “A” and told him to write more clearly and his mother told him not to hang it on the kitchen cupboard because it left marks and that was the year his sister got glasses and his parents never kissed anymore and the little girl around the corner laughed when he fell down with his bike and his father didn’t tuck him in at night. So, on another piece of paper torn from a notebook he wrote another poem and he called it “Absolutely Nothing” Because that’s what it was all about and his teach gave him an “A” and a hard searching look and he didn’t show it to his mother and that was the year he caught his sister necking on the back porch and the little girl around the corner wore too much make-up so that he laughed when he kissed her but he kissed her anyway and he tucked himself in bed at three AM with his father snoring loudly in the next room Finally, on the inside of a matchbook he wrote another poem and he called it “?” because that’s what it was all about And he gave himself an “A” and a slash on each wrist and hung it on the bathroom mirror Because he couldn’t make it to the kitchen.

There is a charm to letters and cards that emails and smses can’t ever replicate, you cannot inhale them, drawing the fragrance of the place they have been mailed from, the feel of paper in your hand bearing the weight of the words contained within. You cannot rub your fingers over the paper and visualise the sender, seated at a table, writing, perhaps with a smile on their lips or a frown splitting the brow. You can’t see the pressure of the pen on the reverse of the page and imagine the mood the person might have been in when he or she was writing it. Smiley face icons cannot hope to replace words thought out carefully in order to put a smile on the other person’s face, the pressure of the pen, the sharpness or the laxity of the handwriting telling stories about the frame of mind of the writer, the smudges on the sheets of paper telling their own stories, blotches where tears might have fallen, hastily scratched out words where another would have been more appropriate, stories that the writer of the letter might not have intended to communicate. I have letters wrapped up in a soft muslin cloth, letters that are unsigned, tied up with a ribbon which I had once used to hold my soft, brown hair in place, and which had been gently untied by the writer of those letters. Occasionally, I unwrap them and breathe them in, knowing that the molecules from the hand that wrote them might still be scattered on the surface of the paper, a hand that is long dead.

on the continent I'm soft. I dream too. I let myself dream. I dream of being famous. I dream of walking the streets of London and Paris. I dream of sitting in cafes drinking fine wines and taking a taxi back to a good hotel. I dream of meeting beautiful ladies in the hall and turning them away because I have a sonnet in mind that I want to write before sunrise. at sunrise I will be asleep and there will be a strange cat curled up on the windowsill. I think we all feel like this now and then. I'd even like to visit Andernach, Germany, the place where I began, then I'd like to fly on to Moscow to check out their mass transit system so I'd have something faintly lewd to whisper into the ear of the mayor of Los Angeles upon to my return to this fucking place. it could happen. I'm ready. I've watched snails crawl over ten foot walls and vanish. you mustn't confuse this with ambition. I would be able to laugh at my good turn of the cards - and I won't forget you. I'll send postcards and snapshots, and the finished sonnet.

What a need we humans have for confession. To a priest, to a friend, to a psychoanalyst, to a relative, to an enemy, even to a torturer when there is no one else, it doesn't matter so long as we speak out what moves within us. Even the most secretive of us do it, if no more than writing in a private diary. And I have often thought as I read stories and novels and poems, especially poems, that they are no more than authors' confessions transformed by their art into something that confesses for us all. Indeed, looking back on my life-long passion for reading, the one activity that has kept me going and given me the most and only lasting pleasure, I think this is the reason that explains why it means so much to me. The books, the authors who matter the most are those who speak to me and speak for me all those things about life I most need to hear as the confession of myself.

Write the words "The FIve Senses" on an index card and tack it to a bulletin board above your desk. You should have a bulletin board above your desk, if at all possible. Some place where you can tack images, quotes, postcards, scraps of thoughts and ideas that will help remind you of you you are and what you're doing.

If you built the box, you can also break it down.

No map? No problem. Let commitment and determination lead the way.

If it’s true we only live once, then raise your red velvet curtain every chance you get.

At chaos’ core lies the invitation.

Till your inner garden and your outer landscape will flourish

Be who you are. You may not always please but you will never go wrong.

If you want it badly enough, it’s yours.

I've never heard of anybody getting rid of their prized Exile postcards, much less actually writing on them and sending them through the mail to a girl. I watched these two, laughing over this story at the same kitchen table they've shared for thirty years. I realize that I will never fully understand the millions of bizarre ways that music brings people together.

the sky paled to green, a few stars looked out faintly, a light twinkled in the solitary house on Vilm, and the waiter came down and asked if he should bring a lamp. A lamp! As though all one ever wanted was to see the tiny circle round oneself, to be able to read the evening paper, or write postcards to one’s friends, or sew. I have a peculiar capacity for doing nothing and yet enjoying myself. To

Nobody warned me about this part. When I envisioned my trip, I imagined exciting adventures, exotic locales, a jet-set lifestyle. I never thought grief and doubt would climb into my backpack and come with me. I pictured standing at the top of the Sun Gate, looking down at Machu Picchu, without ever thinking about the steps it would take to get there. This is the curse of wanderlust, when the postcard image becomes a brutal reality.

PREFACE A New Look at the Legacy of Albert Einstein Genius. Absent-minded professor. The father of relativity. The mythical figure of Albert Einstein—hair flaming in the wind, sockless, wearing an oversized sweatshirt, puffing on his pipe, oblivious to his surroundings—is etched indelibly on our minds. “A pop icon on a par with Elvis Presley and Marilyn Monroe, he stares enigmatically from postcards, magazine covers, T-shirts, and larger-than-life posters. A Beverly Hills agent markets his image for television commercials. He would have hated it all,” writes biographer Denis Brian. Einstein is among the greatest scientists of all time, a towering figure who ranks alongside Isaac Newton for his contributions. Not surprisingly, Time magazine voted him the Person of the Century. Many historians have placed him among the hundred most influential people of the last thousand years.

I write it so my grandchildren will know that during the Trump era I wasn’t duped, I wasn’t silent, and I didn’t go along for the ride. I want them to know that I saw what was happening, I knew it for what it was, and I spoke out.

Last fall, I was sitting at the kitchen table of two friends who have been together since 1972. They tell me a story about how they got together. She couldn't decide between two suitors, so she left New York City to spend the summer in an ashram. (Did I mention was 1972?) One of the suitors sent her postcards while she was gone, the famous postcards that came inside the sleeve of the Rolling Stones' Exile on Main Street. Needless to say, he was the suitor that won her hand. They tell me this story, laughing and interrupting each other, as their teenage daughter walks through the kitchen on her way out to a Halloween party. I've heard of these postcards - over the years, I've heard plenty of record-collector guys boast that they own the original vinyl Exile on Main Street with the original postcards, intact and pristine in the virgin sleeve. I've never heard of anybody getting rid of their prized Exile postcards, much less actually writing on them and sending them through the mail to a girl. I watch these two, laughing over this story at the same kitchen table they've shared for thirty years. I realize that I will never fully understand the millions of bizarre ways that music brings people together.

A month after this, another postcard arrived from Rome, giving no address: 'Am writing in a day or two,' it said. That was six years ago. So now I am writing to her. When you read this, Sally - if you ever do - please accept it as a tribute, the sincerest I can pay, to yourself and to our friendship. And send me another postcard.

Mike glanced at the two computer towers lying half-autopsied on her kitchen table. One had a bag of chips in it, the top held shut with a binder clip. A stack of motherboards rested on the chair in Mylar bags. “Maid’s been on vacation, I see,” said Mike. “Yeah. She ran off with the guy who writes your jokes.” “Ouch.” “There’s a postcard from them here somewhere. Want me to look for that instead?” “No, no. Just the logs will be fine.

By necessity, we are direct and swift in speech and movement. This is the true dynamic that underlies our apocryphal rudeness. Also true: we do not make eye contact. Neither do we encourage it. Consider the number of humans a New Yorker will pass on a given day – on the subway, in a train or bus terminal, in an office or simply walking down the street. To facilitate speed and minimize drama, it’s productive to keep one’s eyes focused ahead.

Until that rainy Sunday at the movies 31 years ago, for me, companionship had been a mandate for life’s good times. After Orca, it became a choice. My trip to the theater helped me to distinguish between loneliness (experienced by default), and solitude (choosing when and how to enjoy my own company), as I began a journey of engaging the world on my own terms. Over the years, that journey deepened as I traveled life’s roads with increasing independence and confidence, whether I was attending graduate school at night while working during the day, buying my first house or changing careers.

I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.

But no literature grows in isolation, and looking at the history of Indian writing in English is like looking at a silent movie made up of static postcards of Delhi, or Mumbai, or any other thronged Indian city: the life, the colour, the hubbub of hundreds of eager new writers and high-minded editors, peacocking poets and fiery-eyed pamphleteers, all of that has been bled out of collective memory. In the same year that Dean Mahomet wrote his Travels, the Madras Hircarrah (1794) started up, joining Hicky’s Bengal Gazette (1780) and the India Gazette (1781); the first in a flood of periodicals and journals that would breathlessly, urgently take the news of India running along from one province to another. The

Psychoanalysis: An Elegy" What are you thinking about? I am thinking of an early summer. I am thinking of wet hills in the rain Pouring water. Shedding it Down empty acres of oak and manzanita Down to the old green brush tangled in the sun, Greasewood, sage, and spring mustard. Or the hot wind coming down from Santa Ana Driving the hills crazy, A fast wind with a bit of dust in it Bruising everything and making the seed sweet. Or down in the city where the peach trees Are awkward as young horses, And there are kites caught on the wires Up above the street lamps, And the storm drains are all choked with dead branches. What are you thinking? I think that I would like to write a poem that is slow as a summer As slow getting started As 4th of July somewhere around the middle of the second stanza After a lot of unusual rain California seems long in the summer. I would like to write a poem as long as California And as slow as a summer. Do you get me, Doctor? It would have to be as slow As the very tip of summer. As slow as the summer seems On a hot day drinking beer outside Riverside Or standing in the middle of a white-hot road Between Bakersfield and Hell Waiting for Santa Claus. What are you thinking now? I’m thinking that she is very much like California. When she is still her dress is like a roadmap. Highways Traveling up and down her skin Long empty highways With the moon chasing jackrabbits across them On hot summer nights. I am thinking that her body could be California And I a rich Eastern tourist Lost somewhere between Hell and Texas Looking at a map of a long, wet, dancing California That I have never seen. Send me some penny picture-postcards, lady, Send them. One of each breast photographed looking Like curious national monuments, One of your body sweeping like a three-lane highway Twenty-seven miles from a night’s lodging In the world’s oldest hotel. What are you thinking? I am thinking of how many times this poem Will be repeated. How many summers Will torture California Until the damned maps burn Until the mad cartographer Falls to the ground and possesses The sweet thick earth from which he has been hiding. What are you thinking now? I am thinking that a poem could go on forever.

Well,that all worked out nicely," Edward said from my hand. "Yup." I sat down and propped the postcard upright against my books. "Thanks." "Whatever for?" "Being real,I guess. I'm pretty sure this paper about your life will get me into NYU.Which,when you think about it, is a pretty great gift from a guy I've never met who's been dead for a hundred years." Edward smiled. It was nice to see. "My pleasure,darling girl. I must say, I like this spark of confidence in you." "About time,huh?" "Yes,well.Have you forgiven the Bainbridge boy?" "For...?" "For hiding you." "He wasn't.I was hiding me." I gave Edward a look before he could gloat. "Yeah,yeah. You've always been very wise. But this isn't really about my forgiving Alex,is it?" He had the grace to look a little embarrassed. "I suppose not. So?" "So.I think you were a good guy, Edward. I think you probably would have told everyone exactly how you felt about Marina of you could have.If she hadn't been married, maybe, or if you'd lived longer. I think maybe all the pictures of you did of her were your public delcaration. Whaddya think? Can I write that? Is it the truth?" "Oh,Ella." His face was sad again, just the way he'd cast it in bronze. But it was kinda bittersweet now, not as heartbroken. "I would give my right arm to be able to answer that for you.You know I would." "You don't have a right arm,Mr. Willing. Left,either." I picked up the card again. "Fuhgeddaboudit," I said to it. "I got this one covered." I tucked my Ravaged Man inside Collected Works. It would be there if I wanted it.Who knows. Maybe Edward Willing will come back into fashion someday,and maybe I'll fall for him all over again. In the meantime, I had another guy to deal with.I sat down in front of my computer.It took me thirty seconds to write the e-mail to Alex. Then it took a couple of hours-some staring, some pacing,an endless rehearsal dinner at Ralph's, and a TiVo'd Christmas special produced by Simon Cowell and Nigel Lythgoe with Nonna and popcorn-for me to hit Send.

Worlds don't GROW, Roland." "Don't they? When I was a boy, Eddie, there were maps. I remember one in particular. It was called the Greater Kingdoms of the Western Earth. It showed my land, which was called by the name Gilead. It showed the Downland Baronies, which were overrun by riot and civil war in the year after I won my guns, and the hills, and the desert, and the mountains, and the Western Sea. It was a long distance from Gilead to the Western Sea--a thousand miles or more--but it had taken me over twenty years to cross that distance." "That's impossible," Susannah said quickly, fearfully. "Even if you WALKED the whole distance it couldn't take twenty years." "Well, you have to allow for stops to write postcards and drink beer," Eddie said, but they both ignored him. "I didn't walk but rode most of the distance on horseback," Roland said. "I was--slowed up, shall we say?--every now and then, but for most of that time I was moving. Moving away from John Farson, who led the revolt which toppled the world I grew up in and who wanted my head on a pole in his courtyard--he had good reason to want that, I suppose, since I and my compatriots were responsible for the deaths of a great many of his followers--and because I stole something he held very dear." "What, Roland?" Eddie asked curiously. Roland shook his head. "That's a story for another day...or maybe never. For now, think not of that but of this: I've come MANY thousands of miles. Because the world is growing." "A thing like that just can't happen," Eddie reiterated, but he was badly shaken, all the same. "There'd be earthquakes...floods...tidal waves...I don't know what all..." "LOOK!" Roland said furiously. "Just look around you! What do you see? A world that is slowing down like a child's top even as it speeds up and moves on in some other way none of us understand. Look at your kills, Eddie! Look at your kills, for your father's sake!

I did Barbie’s dream as a one-off thing, but I found it haunting me; I kept having an image in my head of Martin Tenbones getting killed in real New York. Still, that would’ve been the end of it...except, by a wild coincidence, a short time later I received a postcard from Jonathan Carroll. He wrote that he’d been following my graphic novel Signal to Noise—which was being serialized in The Face magazine at the time—and he was finding a number of very scary similarities between my story and his as yet unpublished novel, A Child Across the Sky. He concluded, “We’re like two radio sets tuned to the same goofy channel.” I wrote back and said, “I think you’re right. What’s more, I abandoned a whole storyline after reading Bones of the Moon, but I keep thinking I ought to return to it.” Jonathan then sent me a wonderful letter with this advice: “Go to it, man. Ezra Pound said that every story has already been written. The purpose of a good writer is to write it new. I would very much like to see a Gaiman approach to that kind of story.” With that encouragement, I began creating A Game of You.

The Writers curse We have to write We have no choice We have stories to TELL

As a Restricted Person under South Africa’s banning decree I was forbidden by the government to write anything — even a diary or postcard — and the Security Police in charge of my surveillance had threatened to raid my house at any time of day or night to ensure that I wasn’t breaking the ban. My home was under constant observation from the sidewalk and from the Security Police cars that cruised close by, and there were clear indications that apart from monitoring all telephone calls and intercepting all mail, they had planted listening devices inside the house. For these reasons I wrote most of this book in long-hand, only twice using a typewriter while playing a phonograph record to mask the sounds of the keys. I wrote at a table by an upstairs window from which I could watch the rather predictable routine of my watchers, prepared should they approach the house.

I wrote you a postcard—did it not arrive?

In our children’s ministry, we frequently give small group leaders postcards so they can write notes to the kids in their groups. We tell them to give us the cards and we’ll take care of postage. Dozens of postcards being sent every week begin to add up (especially if it hasn’t been budgeted) but it makes a big difference to the kids who receive them.

He quite literally occupied it. At the end of a long oaken table near the window of the Writing Room was “the Hitler Chair.” It had the best light for painting postcards. Nobody but Adolf dared sit there. Everybody honored his obsession with the chair, partly out of gratitude: If a Männerheim tenant fell short of his week’s rent, Hitler was amazingly fast in organizing a collection.

Did you ever think maybe you’d just stay, ride it out, see what happened? Was that an option for you?” He didn’t ask defensively, though it took a bit to keep the edge from his voice. He was all but grilling her so he couldn’t go and get upset if he didn’t like the answers he got. But he was human, and this wasn’t any easier on him than it was on her. “It might have been.” “If?” He heard her take a steadying breath and felt himself bracing for her response. “If I’d felt about you the way I felt about the rest of your family. Like you were a brother or something.” “But?” “Looking for a little ego stroke?” She swatted at him then, tried for a playful laugh, but the serious undertone remained. “But I had feelings for you. Well, lust and feelings. We had a friendship, then I had lust. And I really didn’t think, even if you were interested in me, that was something you’d pursue, given your position as employer and me being temporary. So…I don’t know…” “But when you came back here to Maine you didn’t head out again.” “I didn’t go back to Australia either,” she reminded him. When he didn’t say anything for some time, she said, “What are you thinking? I’ve been pretty frank so go ahead, be honest with me.” “Okay,” he said. “I guess I can’t help but think that you didn’t head back out on the road, you didn’t come back to Australia either--but you also didn’t write, keep in touch. And not because you were out in the jungle somewhere, unable to drop a postcard in the mail. You were right here, with all the modern technological conveniences at your fingertips. But you didn’t send a single e-mail. Not even to Sadie. And I can’t help but think that maybe that means we were all a lot more important to you than you wanted to admit or keeping in touch, at least with her, would have been no big deal. You also haven’t even mentioned us to anyone here, as far as I know, other than your uncle. Which, given how long you stayed and how much we’d come to mean to you, seems odd to me, too. So…maybe the only way you thought you could get over us was to put us firmly in your rearview mirror. Only then…you never started looking ahead again either.” She said nothing, and a quick glance showed she was staring out the side window of the car, her hands in her lap, fingers twisting and untwisting. “Or maybe we really were easily left in the past, and the change in you is more because you got home and your entire family was living here, all together, for the first time in your adult life,” he said, giving her an out. “And it makes you want to stay, even though you don’t know what, precisely, you want to do here yourself.” He paused, then said the rest of what he was thinking, what he was feeling. “And maybe you stay because it’s the closest thing you can have to what you had started building with us, and remain safe while having it.

Those who receive the blessing are those who see beyond its disguise.

Diving in IS testing the water.

No need to queue up; step forward and count yourself in.

When we write down our dreams we transform what we imagine into reality.

Want more fizz in your life? Shake things up.

You’d be surprised who will back down when you speak up.

An unlimited supply of wonder and trust, bolsters life lived as a process of discovery.

Stay open. You may find your tribe where you least expect it.

Increase the number of adventures you act on and you’ll lighten the weight of regret.

The treasured vistas of our solo journeys are not always about the landscape.

Endings are the embryos of new beginnings.

In these pages, traveling “solo” does not necessarily mean “alone.” The absence of other people often suggests regretful isolation. “Solo” by contrast, is a willful decision to be the architect of our own experience.

I know when people think of New York, they think of theater, restaurants, cultural landmarks and shopping,” I told him. “But beyond the iconic skyline and the news from Wall Street, New York is a collection of villages. In our neighborhoods, we attend school, play Kick the Can, handball and ride our bikes. I grew up knowing the names and faces of the baker, the shoe repair family, the Knish man and the Good Humor man who sold me and the other kids in my neighborhood half a popsicle for a nickel. My father took me to the playground where he pushed me on the swing, helped balance me on the seesaw and watched as I hung upside down by my feet on the monkey bars. Yes,” I told the interviewer, “people actually grow up in New York.

Though I have not lived in New York City for more than two decades, these storytellers – from the United States, Britain and Canada – have touched my heart with their openness, inspired me with their joie de vivre and deepened my appreciation for my hometown as a worldwide phenomenon. Welcome to our New York.

Fear not your flame as you flood your caverns with firelight.

The cruise was the conduit for what would become my third book. While I was traveling and writing for ctnow.com, women across the United States and from the Caribbean emailed not to ask about my geographic journey but my existential one. “How do you find the courage to travel on your own?” they wondered. “How do you keep from getting lonely? Don’t you feel self-conscious eating out alone?” After the first 30 emails like these I thought, There’s a book here. It would be eight years before I published Postcards and Pearls: Life Lessons from Solo Moments on the Road. But the inspiration for publication came during the cruise.

Those who walk the talk get the work.

If you’ve broken any promises you’ve made to yourself, now is the time to make up for it.

Be courageous: be still.

Like flowers blooming through cement, we, too, can grow beyond our cracks.

If “Been there, done that” isn’t your mantra,then make haste down your “bucket list.

From the depths of your well, tap your will.

The gift of solo moments is that they are wholly ours. On or off the road, solo moments connect us inward to ourselves with heightened clarity and insight. They also direct our energies out into the world, magnetizing us to new people and experiences we may not have encountered under any other circumstance.

The adventures of a lifetime begin with “Yes.

Practice trust in small matters for huge returns in the large ones.

Nothing is lost in a stumble, only in the refusal to get up.

The alchemy of diamonds from the rough is to mine every moment.

Experiment with grounding yourself with who you are, not what you do.

For all the energy directed toward the stratagem of big city living, New Yorkers are never too distracted to respond to, and more often, proactively assist visitors. Tourists tracing the routes of subway maps with their fingers, squinting at street signs or staring at a slip of paper with confusion are typical recipients of our generosity. We know our city can be as challenging as it is fascinating, and we want visitors to have a good experience.

Whether you need to make a call or answer one,don’t put your passions on hold.

As long as you’re breathing, it’s never too late to reconnect with a long-held love.

Go for it. It will make a great story.

No matter how many strikes are hurled at you, only you decide when you’re out.