Yard Art Quotes

Here's why I will be a good person. Because I listen. I cannot talk, so I listen very well. I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like being a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.

Walk some night on a suburban street and pass house after house on both sides of the same street each with the lamplight of the living room, shining golden, and inside the little blue square of the television, each living family riveting its attention on probably one show; nobody talking; silence in the yards; dogs barking at you because you pass on human feet instead of wheels.

It's okay to keep a broken oven in your yard as long as you call it art.

I unconsciously decided that, even if it wasn't an ideal world, it should be so and painted only the ideal aspects of it - pictures in which there are no drunken slatterns or self-centered mothers . . . only foxy grandpas who played baseball with kids and boys who fished from logs and got up circuses in the back yard.

To set out for rehearsals in that quivering quarter-hour is to engage conclusions, not beginnings, for one walks past the guilded hallucinations of poverty with a corrupt resignation touched by details, as if the destitute, in their orange-tinted back yards, under their dusty trees, or climbing into their favelas, were all natural scene designers and poverty were not a condition but an art. Deprivation is made lyrical, and twilight, with the patience of alchemy, almost transmutes despair into virtue. In the tropics nothing is lovelier than the allotments of the poor, no theater is as vivid, voluble, and cheap.

When he heard laughter, before he could think or feel anything, his heart would already be beating like he’d sprinted twenty yards. As the beating slowly normalized he’d think of how his heart, unlike him, was safely contained, away from the world, behind bone and inside skin, held by muscles and arteries in its place, carefully off-center, as if to artfully assert itself as source and creator, having grown the chest to hide in and to muffle and absorb—and, later, after innovating the brain and face and limbs, to convert into productive behavior—its uncontrollable, indefensible, unexplainable, embarrassing squeezing of itself.

Things, I know, stiffen and shift in memory, become what they never were before. As when an army takes over a country. Or a summer yard goes scarlet with fall and its venous leaves. One summons the years of the past largely by witchcraft-a whore's arts, collage and brew, eye of newt, heart of horse. Still, the house of my childhood is etched in my memory like the shape of the mind itself: a house-shaped mind-why not? It was this particular mind out of which I ventured-for any wild danger or sentimental stance or lunge at something faraway. But it housed every seedling act. I floated above it, but close, like a figure in a Chagall.

[…] the lady, her eye catching sight of an advertisement of somebody’s cocoa, said ‘Shocking!’ and turned the other way. Really, there was some excuse for her. One notices, even in England, the home of the proprieties, that the lady who drinks cocoa appears, according to the poster, to require very little else in this world; a yard or so of art muslin at the most. On the Continent she dispenses, so far as one can judge, with every other necessity of life. Not only is cocoa food and drink to her, it should be clothes also, according to the idea of the cocoa manufacturer.

Each generation has been an education for us in different ways. The first child-with-bloody-nose was rushed to the emergency room. The fifth child-with-bloody-nose was told to go to the yard immediately and stop bleeding on the carpet.

The trouble with painting though, with all art, is you can’t prove you’re better. It’s not like a hundred-yard sprint where there’s a piece of technology to indisputably grade the contestants. Artists, like criminals, are dependent on a jury.

The writer is an infantryman. He knows that progress is measured in yards of dirt extracted from the enemy one day, one hour, one minute at a time and paid for in blood. The artist wears combat boots.

Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story , you, upon hearing the words 'soccer' and 'neighbor' in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that no, you grew up in Brazil on the streets of Tres Coracoes with Pele and I might say, I thought you were from Tennessee, and you might say, not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.

Visit the Navy-Yard, and behold a marine, such a man as an American government can make, or such as it can make a man with its black arts, -a mere shadow and reminiscence of humanity, a man laid out alive and standing, and already, as one may say, buried under arms with funeral accompaniments, though it may be, - "Not a drum was heard, not a funeral note, As his corse to the rampart were hurried; Not a soldier discharged his farewell shot, O'er the grave where our hero we buried.

I like your hair," he said quietly, "but I think you'd look good whatever you did with it." Here's the thing.He looked like he meant it, and like it had been the most natural thing in the world to say. I blinked at him. "Okay," I said. "You want to know something about me that I don't really want to tell you? How about this. I dont get it.This.I hate that I don't. I wish I were the kind of girl who took guys like you as my sovereign right in life. But I don't." "Yeah,I've sorta figured that out,too." He let go of my hair and put his hand on my waist, so his thumb was against my skin. I shivered. "Here's my first reveal for the night. One day, not so long ago, I'm just sitting in the dining room, digesting, minding my own business-literally. Trying to decide whether the second hamburger had been such a good idea and whether to break up with my girlfriend of a year and a half. Then I try to stand up, and suddenly there's this really pretty girl doubled over and looking at my book like it was covered with crap-" "I wasn't." "Yeah.You were. So there you were, with that amazing face and a yard of hair that smelled like flowers, and all this stuff drawn on your jeans. I really liked that." "You liked my jeans." "Among other things.But, jeez, Ella. After that, if you weren't making me feel like I had the IQ of a stone, your friends were looking at me like I'd crawled out from under one. I won't even go into what you obviously think of my friends." "Chase Vere is a reptile.

The professional arms himself with patience, not only to give the stars time to align in his career, but to keep himself from flaming out in each individual work. He knows that any job, whether it’s a novel or a kitchen remodel, takes twice as long as he thinks and costs twice as much. He accepts that. He recognizes it as reality. The professional steels himself at the start of a project, reminding himself it is the Iditarod, not the sixty-yard dash. He conserves his energy. He prepares his mind for the long haul. He sustains himself with the knowledge that if he can just keep those huskies mushing, sooner or later the sled will pull in to Nome.

You are mad to be spending the summer in the country, where the days are too quiet and you have so much time to think. In the city you live on Broadway, where the noise is so thick your scary thoughts can't get a word in edgewise. But here in the county, there is only space. On the stone bridge by the stream. On the mossy rock at the edge of the yard. Behind the abandoned trailer where Art, the old man with the glass eye, used to live. Space, space, space, and you can scare yourself into thinking your thoughts are more like voices.

Like an inspired and prolific poet, who never refuses to spread beauty to the humblest places, which until now did not seem to share the domain of art, the sun still warmed the bountiful energy of the dung heap, of the unevenly paved yard, and of the pear tree worn down like an old serving maid.

I always wondered, though, what the fathers felt as they drove up the street they used to drive down every night, and whether they really saw their former houses, whether they noticed how things got frayed and flaky around the edges now that they were gone. I wondered it again as I pulled up to the house I’d grown up in. It was, I noticed, looking even more Joad-like than usual. Neither my mother nor the dread life partner, Tanya, was much into yard work, and so the lawn was littered with drifts of dead brown leaves. The gravel on the driveway was as thin as an old man’s hair combed across an age-spotted scalp, and as I parked I could make out the faint glitter of old metal from behind the little toolshed. We used to park our bikes in there. Tanya had “cleaned” it by dragging all the old bikes, from tricycles to discarded ten-speeds, out behind the shed, and leaving them there to rust. “Think of it as found art,” my mother had urged us when Josh complained that the bike pile made us look like trailer trash. I wonder if my father ever drove by, if he knew about my mother and her new situation, if he thought about us at all, or whether he was content to have his three children out there in the world, all grown up, and strangers.

It is unimpressive to not return what’s been borrowed. Whether you have borrowed money, folding chairs, yard tools, or a popular book, always make sure you return to another person what is rightfully theirs. Lending it to you in the first place was a gift of trust and assistance. Being slow to give back in return may be considered rude.

There's only a yard of stuff in it, worth a pound if that," I went on, horrified by the waste of money. "And how many yards of canvas in a Fragonard? And how much do planks of wood cost, or the skin of a darling goat before some clever person turns them into commodes and morocco? Art is more than yards, just as one is more than flesh and bones.

Why not put my house, my parlour, behind this plot, instead of behind that meagre assemblage of curiosities, that poor apology for a Nature and Art, which I call my front yard?

Why would anyone want to fight Henry?" Loondorf looked hurt. "Because he's a ballplayer." "So?" "So he's a baller. He's got cash, chains, crisp clothes. He's got a hat that says Yankees and it's the real deal, yo. He didn't buy it at no yard sale. He walks into a bar and girls are like damn. Dudes get jealous. They want to get in his face, prove they're somebody." "They want to take down the man," Steve said helpfully.

Individually and collectively, we will have to be the resistance—offering daily, bold, defiant pushback against all that feels wrong here. This pushback will come as we loudly and unapologetically speak truth where truth is not welcome. It will come as we connect with one another on social media and in faith communities and in our neighborhoods, and as we work together to demand accountability from our elected officials and pastoral leaders. It will come in the small things: in the art we create and the conversations we have and the quiet gestures of compassion that are barely visible. It will come in the way we fully celebrate daily life: having dinner with friends, driving through the countryside, playing in the yard with our children, laughing at a movie we love. It will come as we use the shared resources of our experience and our talents and our numbers to ensure that our children inherit a world worth being here for. It will come as we transform our grief into goodness.

In children's art class we sat in a ring of kindergarten chairs and drew three daffodils that had just been picked out of the yard; and while I was drawing, my sharpened yellow pencil and the cup of the yellow daffodil gave off wiffs just alike. That the pencil doing the drawing should give off the same smell of the flower it drew seemed part of the art lesson - as shouldn't it be? Children, like animals use all their sense to discover the world. Then artists come along and discover it the same way, all over again. Here and there, it's the same world. Or now and then we'll hear from an artist who's never lost it.

Whether working in the yard or just going about the daily business of life, you are continually adjusting, trimming, touching, shaping, and tinkering with the wealth of things around you. It may be difficult for you to know when to stop. We are all torn between the extremes of taking care of things and leaving them alone, and we question whether many things could ever get along without us. We find ourselves with pruning shears in hand, snipping away at this or that, telling ourselves that we're only being helpful, redefining something else's space, removing that which is unappealing to us. It's not that we really want to change the world. We just want to fix it up slightly. We'd like to lose a few pounds or rid ourselves of some small habit. Maybe we'd like to help a friend improve his situation or repair a few loose ends in the lives of our children. All of this shaping and controlling can have an adverse affect. Unlike someone skilled in the art of bonsai gardening, we may *unintentionally* stunt much natural growth before it occurs. And our meddling may not be appreciated by others. Most things will get along superbly without our editing, fussing, and intervention. We can learn to just let them be. As a poem of long ago puts it, "In the landscape of spring, the flowering branches grow naturally, some are long, some are short.

Farragut's first visitor was his wife. He was raking leaves in yard Y when the PA said that 734-508-32 had a visitor. He jogged up the road past the firehouse and into the tunnel. It was four flights up to cellblock F. "Visitor," he said to Walton, who let him into his cell. He kept his white shirt prepared for visits. It was dusty. He washed his face and combed his hair with water. "Don't take nuttin but a handkerchief," said the guard. "I know, I know, I know...." Down he went to the door of the visitor's room, where he was frisked. Through the glass he saw that his visitor was Marcia. There were no bars in the visitor's room, but the glass windows were chicken-wired and open only at the top. A skinny cat couldn't get in or out, but the sounds of the prison moved in freely on the breeze. She would, he knew, have passed three sets of bars - clang, clang, clang - and waited in an anteroom where there were pews or benches, soft-drink engines and a display of the convict's art with prices stuck in the frames. None of the cons could paint, but you could always count on some wet-brain to buy a vase of roses or a marine sunset if he had been told that the artist was a lifer. There were no pictures on the walls of the visitor's room but there were four signs that said: NO SMOKING, NO WRITING, NO EXCHANGE OF OBJECTS, VISITORS ARE ALLOWED ONE KISS.

To eat responsibly is to understand and enact, so far as one can, this complex relationship. What can one do? Here is a list, probably not definitive: 1. Participate in food production to the extent that you can. If you have a yard or even just a porch box or a pot in a sunny window, grow something to eat in it. Make a little compost of your kitchen scraps and use it for fertilizer. Only by growing some food for yourself can you become acquainted with the beautiful energy cycle that revolves from soil to seed to flower to fruit to food to offal to decay, and around again. You will be fully responsible for any food that you grow for yourself, and you will know all about it. You will appreciate it fully, having known it all its life. 2. Prepare your own food. This means reviving in your own mind and life the arts of kitchen and household. This should enable you to eat more cheaply, and it will give you a measure of “quality control”: You will have some reliable knowledge of what has been added to the food you eat. 3. Learn the origins of the food you buy, and buy the food that is produced closest to your home. The idea that every locality should be, as much as possible, the source of its own food makes several kinds of sense. The locally produced food supply is the most secure, the freshest, and the easiest for local consumers to know about and to influence. 4. Whenever possible, deal directly with a local farmer, gardener, or orchardist. All the reasons listed for the previous suggestion apply here. In addition, by such dealing you eliminate the whole pack of merchants, transporters, processors, packagers, and advertisers who thrive at the expense of both producers and consumers. 5. Learn, in self-defense, as much as you can of the economy and technology of industrial food production. What is added to food that is not food, and what do you pay for these additions? 6. Learn what is involved in the best farming and gardening. 7. Learn as much as you can, by direct observation and experience if possible, of the life histories of the food species. The

The writer is an infantryman. He knows that progress is measured in yards of dirt extracted from the enemy one day, one hour, one minute at a time and paid for in blood. The artist wears combat boots. He looks in the mirror and sees GI Joe. Remember, the Muse favors working stiffs. She hates prima donnas. To the gods the supreme sin is not rape or murder, but pride.

However, the Bleeding Hearts were kind hearts; and when they saw the little fellow cheerily limping about with a good-humoured face, doing no harm, drawing no knives, committing no outrageous immoralities, living chiefly on farinaceous and milk diet, and playing with Mrs Plornish's children of an evening, they began to think that although he could never hope to be an Englishman, still it would be hard to visit that affliction on his head. They began to accommodate themselves to his level, calling him 'Mr Baptist,' but treating him like a baby, and laughing immoderately at his lively gestures and his childish English—more, because he didn't mind it, and laughed too. They spoke to him in very loud voices as if he were stone deaf. They constructed sentences, by way of teaching him the language in its purity, such as were addressed by the savages to Captain Cook, or by Friday to Robinson Crusoe. Mrs Plornish was particularly ingenious in this art; and attained so much celebrity for saying 'Me ope you leg well soon,' that it was considered in the Yard but a very short remove indeed from speaking Italian. Even Mrs Plornish herself began to think that she had a natural call towards that language. As he became more popular, household objects were brought into requisition for his instruction in a copious vocabulary; and whenever he appeared in the Yard ladies would fly out at their doors crying 'Mr Baptist—tea-pot!' 'Mr Baptist—dust-pan!' 'Mr Baptist—flour-dredger!' 'Mr Baptist—coffee-biggin!' At the same time exhibiting those articles, and penetrating him with a sense of the appalling difficulties of the Anglo-Saxon tongue.

High art is researched more than folk art, and museums more than front yards. Yet I would make the case that the minutiae of everyday life deserve our attention; the micro-concerns of the normal round do not make the front pages, but I would hazard a guess that the "trivia" of life, the small things, are probably of more interest to most people most of the time than the macro-concerns of international politics and economics.

Burlington, Vermont, is an example of a certain kind of small city that David Brooks calls “Latte Towns,” enclaves of affluent and well-educated people, sometimes in scenic locales such as Santa Fe or Aspen and sometimes in university towns such as Ann Arbor, Berkeley, or Chapel Hill. Of Burlington, Brooks writes: Burlington boasts a phenomenally busy public square. There are kite festivals and yoga festivals and eating festivals. There are arts councils, school-to-work collaboratives, environmental groups, preservation groups, community-supported agriculture, antidevelopment groups, and ad hoc activist groups.… And this public square is one of the features that draw people to Latte Towns. People in these places apparently would rather spend less time in the private sphere of their home and their one-acre yard and more time in the common areas.

In a single breath, more molecules of air will pass through your nose than all the grains of sand on all the world’s beaches—trillions and trillions of them. These little bits of air come from a few feet or several yards away. As they make their way toward you, they’ll twist and spool like the stars in a van Gogh sky, and they’ll keep twisting and spooling and scrolling as they pass into you, traveling at a clip of about five miles per hour.

her power now that she had lost the hair. So when the bride had finished drinking, and would have got upon Falada again, the maid said, "I shall ride upon Falada, and you may have my horse instead;" so she was forced to give up her horse, and soon afterwards to take off her royal clothes, and put on her maid's shabby ones. At last, as they drew near the end of the journey, this treacherous servant threatened to kill her mistress if she ever told anyone what had happened. But Falada saw it all, and marked it well. Then the waiting-maid got upon Falada, and the real bride was set upon the other horse, and they went on in this way till at last they came to the royal court. There was great joy at their coming, and the prince hurried to meet them, and lifted the maid from her horse, thinking she was the one who was to be his wife; and she was led upstairs to the royal chamber, but the true princess was told to stay in the court below. However, the old king happened to be looking out of the window, and saw her in the yard below; and as she looked very pretty, and too delicate for a waiting-maid, he went into the royal chamber to ask the bride whom it was she had brought with her, that was thus left standing in the court below. "I brought her with me for the sake of her company on the road," said she. "Pray give the girl some work to do, that she may not be idle." The old king could not for some time think of any work for her, but at last he said, "I have a lad who takes care of my geese; she may go and help him." Now the name of this lad, that the real bride was to help in watching the king's geese, was Curdken. Soon after, the false bride said to the prince, "Dear husband, pray do me one piece of kindness." "That I will," said the prince. "Then tell one of your slaughterers to cut off the head of the horse I rode upon, for it was very unruly, and plagued me sadly on the road." But the truth was, she was very much afraid lest Falada should speak, and tell all she had done to the princess. She carried her point, and the faithful Falada was killed; but when the true princess heard of it she wept, and begged the man to nail up Falada's head against a large dark gate in the city through which she had to pass every morning and evening, that there she might still see him sometimes. Then the slaughterer said he would do as she wished, so he cut off the head and nailed it fast under the dark gate. Early the next morning, as the princess and Curdken went out through the gate, she said sorrowfully— "Falada, Falada, there thou art hanging!" and the head answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then they went out of the city, driving the geese. And when they came to the meadow, the princess sat down upon a bank there and let down her waving locks of hair, which were all of pure gold; and when Curdken saw it glitter in the sun, he ran up, and would have pulled some of the locks out; but she cried— "Blow, breezes, blow! Let Curdken's hat go! Blow breezes, blow! Let him after it go! "O'er hills, dales, and rocks, Away be it whirl'd, Till the golden locks Are all comb'd and curl'd!" Then there came a wind, so strong that it blew off Curdken's hat, and away it flew over the hills, and he after it; till, by the time he came back, she had done combing and curling her hair, and put it up again safely. Then he was very angry and sulky, and would not speak to her at all; but they watched the geese until it grew dark in the evening, and then drove them homewards. The next morning, as they were going through the dark gate, the poor girl looked up at Falada's head, and cried— "Falada, Falada, there thou art hanging!" and it answered— "Bride, bride, there thou are ganging! Alas! alas! if thy mother knew it, Sadly, sadly her heart would rue it." Then she drove on the geese and sat down again in the meadow, and began to comb

She pouts. “Well, Art, this morning my dog ate half my boomerang.” She pulls a chewed piece of wood from a pocket. “Does it still work?” Arathusa considers this question and throws the object across the yard with surprising skill. It whistles through the air and lands in the dust a few feet from the latrine. They both stare at it for a moment. “Well,” she says with delight, “I guess it half works! Art, what’s your philosophy?” A few axioms come to mind—Don’t buy tomatoes in winter; men over forty should not dye their hair; expensive underwear is worth it—but no philosophies. Less demurs: “Um, I don’t think I have one.” “Everybody has one; you just have to discover it. Mine is about embracing the affirmative. It goes like this: Know no no.” “No, no, no,” Less parrots. “You’re mishearing me,” she says, smiling. “Now, listen: Know no no.” “No, no, no.” Arathusa’s smile sharpens. “No, no, no!” she says, then starts again: “Know. No. No.” “No,” Less begins slowly. “No. No.” A sigh. “No.

I was thinking about changing into a different sort of person than the one I am. I do think about that. I read a book called The Art of Loving. A lot of things seemed clear while I was reading it but afterwards I went back to being more or less the same. What has Cam ever done that actually hurt me, anyway, as Haro once said. And how am I better than he is after the way i felt the night Mother lived instead of died? I made a promise to myself i would try.I went over there one day taking them a bakery cake - which Cam eats now as happily as anyone else - and I heard their voices out in the yard - now it’s summer, they love to sit in the sun - Mother saying to some visitor, “Oh, yes I was, I was all set to take off into the wild blue yonder, and Cam here, this idiot, came and danced outside my door with a bunch of his hippie friends - ‘ ‘My God, woman,’ roared Cam, but you could tell he didn’t care now, ‘members of an ancient holy discipline.” I had a strange feeling, like I was walking n coals and trying a spell so I wouldn’t get burnt. Forgiveness in families is a mystery to me, how it comes or how it lasts

That spring everyone in Judy Chicago’s class collaborated on a 24 hour performance called Route 126. The curator Moira Roth recalls: “the group created a sequence of events throughout the day along the highway. The day began with Suzanne Lacy’s Car Renovation in which the group decorated an abandoned car…and ended with the women standing on a beach watching Nancy Youdelman, wrapped in yards of gossamer silk, slowly wade out to sea until she drowned, apparently…” There’s a fabulous photo taken by Faith Wilding of the car—a Kotex-pink jalopy washed up on desert rocks. The trunk’s flung open and underneath it’s painted cuntblood red. Strands of desert grass spill from the crumpled hood like Rapunzel’s fucked-up hair. According to Performance Anthology—Source Book For A Decade Of California Art, this remarkable event received no critical coverage at the time though contemporaneous work by Baldessari, Burden, Terry Fox boasts bibliographies several pages long. Dear Dick, I’m wondering why every act that narrated female lived experience in the ’70s has been read only as “collaborative” and “feminist.” The Zurich Dadaists worked together too but they were geniuses and they had names.

OPTIONS FOR REDUCING While thrift stores such as Goodwill or the Salvation Army can be a convenient way to initially let go, many other outlets exist and are often more appropriate for usable items. Here are some examples: • Amazon.com • Antiques shops • Auction houses • Churches • Consignment shops (quality items) • Craigslist.org (large items, moving boxes, free items) • Crossroads Trading Co. (trendy clothes) • Diggerslist.com (home improvement) • Dress for Success (workplace attire) • Ebay.com (small items of value) • Flea markets • Food banks (food) • Freecycle.org (free items) • Friends • Garage and yard sales • Habitat for Humanity (building materials, furniture, and/or appliances) • Homeless and women’s shelters • Laundromats (magazines and laundry supplies) • Library (books, CDs and DVDs) • Local SPCA (towels and sheets) • Nurseries and preschools (blankets, toys) • Operation Christmas Child (new items in a shoe box) • Optometrists (eyeglasses) • Regifting • Rummage sales for a cause • Salvage yards (building materials) • Schools (art supplies, magazines, dishes to eliminate class party disposables) • Tool co-ops (tools) • Waiting rooms (magazines) • Your curb with a “Free” sign

The accident had occurred at an intersection surrounded on one side by empty factories and a deserted schoolyard, and on the opposite side, by a graveyard. I had come running from the nearest house, a hundred yards away. Yet, within moments, it seemed, a crowd had gathered. Where had they all come from? Later on in time, I could only imagine that some came, in some strange fashion, out of the empty factories, or even more strangely, out of the graveyard. After typing for only a few minutes, it came to me that, yes, this crowd was always the same crowd, that it gathered at all accidents. These were victims from accidents years ago, doomed to come back and haunt the scene of new accidents as they occurred.

The Invention of Meditation. India, culminating circa –200. Shortly after Homo sapiens developed consciousness, he must also have become aware of one of the curious aspects of consciousness, its chaotic substrate. However lucid the conversation we may be holding, or however intently we think we are concentrating on the task before us, a little self-examination quickly shows that, flowing along just below the surface of the coherent line of thought, is a string of flighty, unpredictable, apparently uncontrollable other thoughts, irrelevant to what we’re supposed to be thinking about. Try to walk for a hundred yards, for example, while thinking about nothing but the act of walking. Untrained people can seldom get beyond the first few steps without finding that their attention has already wandered.

...because a man on the scent of the White House is rarely rational. He is more like a beast in heat: a bull elk in the rut, crashing blindly through the timber in a fever for something to fuck. Anything! A cow, a calf, a mare--any flesh and blood beast with a hole in it.The bull elk is a very crafty animal for about fifty weeks of the year; his senses are so sharp that only an artful stalker can get within a thousand yards of him...butwhen the rut comes on, in the autumn, any geek with the sense to blow an elk-whistle can lure a bull elk right up to his car in ten minutes if he can drive within hearing range. The dumb bastards lose all control of themselves when the rut comes on. Their eyes glaze over, their ears pack up with hot wax, and their loins get heavy with blood. Anything that sounds like a cow elk in heat will fuse the central nervous systems of every bull on the mountain. They will race through the timbers like huge cannonballs, trampling small trees and scraping off bloody chunks of their own hair on the unyielding bark of the big ones. They behave like sharks in a feeding frenzy, attacking each other with all the demented violence of human drug dealers gone mad on their own wares. A career politician finally smelling the White House is not Much different from a bull elk in the rut. He will stop at nothing, trashing anything that gets in his way; and anything he can't handle personally, he will hire out--or, failing that, make a deal. It is a difficult syndrome for most people to understand, because so few of us ever come close to the kind of Ultimate Power and Achievement that the White House represents to a career politician.

coyotes were everywhere. He would see them in the front yard, sunning themselves, languorously eating fallen fruit from the cherimoya and loquat trees. He would see them loping down the streets of Silver Lake and Echo Park, sometimes in couples or in families, sorting through the trash outside the vegan place on Sunset, hiking stoically in Griffith Park, nursing their young. The coyotes felt capable, canny, and strangely anthropomorphized, as if they had been endowed with human features by a team of animators. Their hair seemed artfully disheveled, the haircut of a hot, young actor playing a drug addict in an independent film. The coyotes felt more human than most of the humans Sam encountered, more human than Sam himself felt back then. Their constant presence made the city feel wild and dangerous, as if he weren’t living in a city at all.

At two hundred fifty feet in length with a surfaced displacement of 2,200 tons, the Samisho was not a small boat. Built to the 0+2+ (1) Yuushio-class standards at Kawasaki’s shipyards in Kobe, she’d begun service in 1992, and last year she’d been brought back to the yards for a retrofit. Now she was state of the art, an engineering and electronics marvel even by U.S. naval standards. She was a diesel boat, but she was fast, capable of a top speed submerged of more than twenty-five knots and a published diving depth in excess of one thousand feet. Her electronic detection systems and countermeasures by Hitachi were better than anything currently in use by any navy in the world, and her new Fuji electric motors and tunnel drive were as quiet as any nuclear submarine’s propulsion system, and much simpler to operate. The Samisho could be safely operated, even on war footing, with fifty men and ten officers—less than half the crew needed to run the Los Angeles-class boats, and one-fourth the crew needed for a sub-hunting surface vessel

Tina was hosting. She's a thirty-five-year-old version of Sienne, only bottle blonde.Same blind-you lipstick, same taste in clothes,same complete disregard for anyone else's opinion on anything. They hate each other. "You hate me!" Sienna wailed. It wasn't Tina's voice that snapped back, but Dad's, "Oh,no. I am not playing that game with you. Do you have any idea what a hundred pounds of filet is gonna cost me? And now you want lobster?" "But it's my wedding! Daddy-" "Don't you Daddy me, princess! I'm already five grand in the hole for the damned hotel,not to mention two for the dress, and every time I turn around, you and your mother have added a new guest, bridesmaid,or crustacean!" First of all,Dad was yelling.Almost. Second,he was swearing.Even damn is fighting talk for him.I set down my pizza and debated the best route for a sealthy escape. I'd seen the dress.Pretty, in a Disney-princess, twenty-yards-of-tulle, boobs-shaped-into-missiles sort of way. Sienne looked deliriously happy in it. She looked beautiful.The less said about the bridesmaids' dressed, I'd decided, on seeing the purple sateen,the better. "No lobster!" he yelled. There was a dramatic howl, followed by the bang of the back door. When I peeked out,it was like a photo. Everything was frozen.Dad was standing over the massive pasta pot, red-faced and scowling, wooden spoon brandished like a sword. Leo and Ricky had retreated to the doorway of the freezer. Nonna had her eyes turned heavenward, and Tina was halfway through the dining room door, smirking a little.

THE VISION EXERCISE Create your future from your future, not your past. WERNER ERHARD Erhard Founder of EST training and the Landmark Forum The following exercise is designed to help you clarify your vision. Start by putting on some relaxing music and sitting quietly in a comfortable environment where you won’t be disturbed. Then, close your eyes and ask your subconscious mind to give you images of what your ideal life would look like if you could have it exactly the way you want it, in each of the following categories: 1. First, focus on the financial area of your life. What is your ideal annual income and monthly cash flow? How much money do you have in savings and investments? What is your total net worth? Next . . . what does your home look like? Where is it located? Does it have a view? What kind of yard and landscaping does it have? Is there a pool or a stable for horses? What does the furniture look like? Are there paintings hanging in the rooms? Walk through your perfect house, filling in all of the details. At this point, don’t worry about how you’ll get that house. Don’t sabotage yourself by saying, “I can’t live in Malibu because I don’t make enough money.” Once you give your mind’s eye the picture, your mind will solve the “not enough money” challenge. Next, visualize what kind of car you are driving and any other important possessions your finances have provided. 2. Next, visualize your ideal job or career. Where are you working? What are you doing? With whom are you working? What kind of clients or customers do you have? What is your compensation like? Is it your own business? 3. Then, focus on your free time, your recreation time. What are you doing with your family and friends in the free time you’ve created for yourself? What hobbies are you pursuing? What kinds of vacations do you take? What do you do for fun? 4. Next, what is your ideal vision of your body and your physical health? Are you free of all disease? Are you pain free? How long do you live? Are you open, relaxed, in an ecstatic state of bliss all day long? Are you full of vitality? Are you flexible as well as strong? Do you exercise, eat good food, and drink lots of water? How much do you weigh? 5. Then, move on to your ideal vision of your relationships with your family and friends. What is your relationship with your spouse and family like? Who are your friends? What do those friendships feel like? Are those relationships loving, supportive, empowering? What kinds of things do you do together? 6. What about the personal arena of your life? Do you see yourself going back to school, getting training, attending personal growth workshops, seeking therapy for a past hurt, or growing spiritually? Do you meditate or go on spiritual retreats with your church? Do you want to learn to play an instrument or write your autobiography? Do you want to run a marathon or take an art class? Do you want to travel to other countries? 7. Finally, focus on the community you’ve chosen to live in. What does it look like when it is operating perfectly? What kinds of community activities take place there? What charitable, philanthropic, or volunteer work? What do you do to help others and make a difference? How often do you participate in these activities? Who are you helping? You can write down your answers as you go, or you can do the whole exercise first and then open your eyes and write them down. In either case, make sure you capture everything in writing as soon as you complete the exercise. Every day, review the vision you have written down. This will keep your conscious and subconscious minds focused on your vision, and as you apply the other principles in this book, you will begin to manifest all the different aspects of your vision.

Here comes The Lonely One,” someone said. “Hello, Spender! Long time no see!” The four men at the table regarded the silent man who stood looking back at them. “You and them goddamn ruins,” laughed Cookie, stirring a black substance in a crock. “You’re like a dog in a bone yard.” “Maybe,” said Spender, “I’ve been finding out things. What would you say if I said I’d found a Martian prowling around?” The four men laid down their forks. “Did you? Where?” “Never mind. Let me ask you a question. How would you feel if you were a Martian and people came to your land and started tearing it up?” “I know exactly how I’d feel,” said Cheroke. “I’ve got some Cherokee bloodin me. My grandfather told me lots of things about Oklahoma Territory. Ifthere’s a Martian around, I’m all for him.” “What about you other men?” asked Spender carefully.Nobody answered; their silence was talk enough. Catch as catch can, finder’skeepers, if the other fellow turns his cheek slap it hard, etc ... “Well,” said Spender, “I’ve found a Martian.” The men squinted at him. “Up in a dead town. I didn’t think I’d find him. I didn’t intend looking him up. I don’t know what he was doing there. I’ve been living in a little valley town for about a week, learning how to read the ancient books and looking at their old art forms. And one day I saw this Martian. He stood there for a moment and then he was gone. He didn’t come back for another day. I sat around, learning how to read the old writing, and the Martian came back, each time a little nearer, until on the day I learned how to decipher the Martian language—it’s amazingly simple and there are picture graphs to help you—the Martian appeared before me and said, ‘Give me your boots.’ And I gave him my boots and he said, ‘Give me your uniform and all the rest of your apparel.’ And I gave him all of that, and then he said, ‘Give me your gun,’ and I gave him my gun. Then he said, ‘Now come along and watch what happens.’ And the Martian walked down into camp and he’s here now.” “I don’t see any Martian,” said Cheroke. “I’m sorry.

I discovered that creativity need not be limited to the canvas, that opportunities to create abound all around us. For example, reinventing leftovers for dishes, and repairing have been sources of creativity, and our yard, compost, and recycling, of materials. Since the latter keep recurring and are always on hand, the kids and I do not need to collect or store them but simply reach for them when needed. Just as “the clothes do not make the man,” I believe that the art supplies do not make the artist. It is not a wealth of supplies that gave van Gogh’s work power, but rather his vision and execution. After all, “creativity is inventing, experimenting, growing, taking risks, breaking rules, making mistakes, and having fun” (Mary Lou Cook); none of it depends on supply inventory.

When you file a patent, somebody is almost always there before you. A lot of your argument with the patent examiner is to say: “Look, they may have had the eureka moment when they came back from the timber yard. They may even have created an early prototype.” But none of my forebears had made their prototypes work. Mine is statistically different. That was my decisive advantage. Creativity, then, has a dual aspect. Insight often requires taking a step back and seeing the big picture. It is about drawing together disparate ideas. It is the art of connection. But to make a creative insight work requires disciplined focus. As Dyson puts it: “If insight is about the big picture, development is about the small picture. The trick is to sustain both perspectives at the same time.

The writer is an infantryman. He knows that progress is measured in yards of dirt extracted from the enemy one day, one hour, one minute at a time and paid for in blood. The artist wears combat boots. He looks in the mirror and sees GI Joe. Remember, the Muse favors working stiffs. She hates prima donnas. To the gods the supreme sin is not rape or murder, but pride. To think of yourself as a mercenary, a gun for hire, implants the proper humility. It purges pride and preciousness.

A Chinese Zen master[FN#230] tells us that the method of instruction adopted by Zen may aptly be compared with that of an old burglar who taught his son the art of burglary. The burglar one evening said to his little son, whom he desired to instruct in the secret of his trade: "Would you not, my dear boy, be a great burglar like myself?" "Yes, father," replied the promising young man." "Come with me, then. I will teach you the art." So saying, the man went out, followed by his son. Finding a rich mansion in a certain village, the veteran burglar made a hole in the wall that surrounded it. Through that hole they crept into the yard, and opening a window with complete ease broke into the house, where they found a huge box firmly locked up as if its contents were very valuable articles. The old man clapped his hands at the lock, which, strange to tell, unfastened itself. Then he removed the cover and told his son to get into it and pick up treasures as fast as he could. No sooner had the boy entered the box than the father replaced the cover and locked it up. He then exclaimed at the top of his voice: "Thief! thief! thief! thief!" Thus, having aroused the inmates, he went out without taking anything. All the house was in utter confusion for a while; but finding nothing stolen, they went to bed again. The boy sat holding his breath a short while; but making up his mind to get out of his narrow prison, began to scratch the bottom of the box with his finger-nails. The servant of the house, listening to the noise, supposed it to be a mouse gnawing at the inside of the box; so she came out, lamp in hand, and unlocked it. On removing the cover, she was greatly surprised to find the boy instead of a little mouse, and gave alarm. In the meantime the boy got out of the box and went down into the yard, hotly pursued by the people. He ran as fast as possible toward the well, picked up a large stone, threw it down into it, and hid himself among the bushes. The pursuers, thinking the thief fell into the well, assembled around it, and were looking into it, while the boy crept out unnoticed through the hole and went home in safety. Thus the burglar taught his son how to rid himself of overwhelming difficulties by his own efforts; so also Zen teachers teach their pupils how to overcome difficulties that beset them on all sides and work out salvation by themselves. [FN#230]

There's a subdivision near us called Mill Run. By a stroke of good luck, the planners decided to line the streets with silver maples instead of those trees from the pit of Gehenna known as Bradford pears. (Bradford pears, by the way, are an abomination. I'm not using that word flippantly. They were engineered in the 1960s and because they cross-pollinate with every other kind of pear tree, their prolific offspring is destroying forests faster than kudzu. I think of them as a tree version of the velociraptors in Jurassic Park. They're preferred by developers because they're cheap, they grow fast, and they produce malodorous but pretty white flowers in the spring, which happens to be when most home sales happen. But after the developers leave, the trees require regular pruning, a gust of wind can split them in half, and they're producing an inhospitable forest of non-native offspring that's riddled with thorns. Left unchecked, they'll soon overtake all the lovely oaks, maples, sycamores, and ashes that are native to our part of the world. Take my word for it: they're awful. If you have one in your yard, for goodness sake, cut it down and spend $25 on a maple at Lowe’s.

Art make me eternal, give such body to my undying soul. ask the art, art can do it... ...art can give you the age you want, the life span you want...art can give an ever lasting face to your love and joys; art can give an unending life to your acts, and an novel agelessness to your intercourse with this life that you love and we love...we all. Love, that too is Art and fill your memory yard with its art exhibitions....

Just to be clear, the man from the art department wasn’t boasting about publishing Hitler’s tome. He didn’t say, ‘We’ve got a brilliantly eclectic list here at Random House, Bridget, so you’re in good company. We’ve got Harper Lee, Katie Price, Hitler, you. So I thought, for the front cover, we could have you sitting on planet Venus, looking over at planet Mars with a sort of confused look on your face, like on all those other books by women now. We just need to let the readers know that this book is a funny, light-hearted look at feminism, and how you approach feminism and violations of human rights in your stand-up, Bridget. We need to reassure them it’s not going to be full of photographs of men being horrifically tortured and suffocated with their own cocks while loads of feminists stand around laughing, drinking yards of ale, welding metals and thermoplastics and playing darts with the donated embalmed penes of dead male feminists. Many of our readers won’t want to read a book like that. We are a commercial publishing house.

To Polish the Gold & Help Others Shine . . . Be complimentary: Find something positive to say to compliment another person. Whether they are being a great parent, dressing nicely, maintaining a gorgeous yard, or winning a recent 5K run, pick something to acknowledge which is noteworthy.

Generally speaking, of course, any pursuit of art in camp was somewhat grotesque. I would say that the real impression made by anything connected with art arose only from the ghostlike contrast between the performance and the background of desolate camp life. I shall never forget how I awoke from the deep sleep of exhaustion on my second night in Auschwitz—roused by music. The senior warden of the hut had some kind of celebration in his room, which was near the entrance of the hut. Tipsy voices bawled some hackneyed tunes. Suddenly there was a silence and into the night a violin sang a desperately sad tango, an unusual tune not spoiled by frequent playing. The violin wept and a part of me wept with it, for on that same day someone had a twenty-fourth birthday. That someone lay in another part of the Auschwitz camp, possibly only a few hundred or a thousand yards away, and yet completely out of reach. That someone was my wife.

If you ever visit Wilmington, Delaware, you will probably hear about Tommy Burke. Or at least see his art work. He makes bird houses modeled on actual homes, and they are something of a local tradition. They are very nice to look at and very lucrative for this self-styled sixty-year-old, liberal hippy. In the summer of 2012 Tommy was returning home after a libation or two at the local watering hole when he passed through a crowd of forty black people—mostly teenagers—milling around outside of a party. Before he went fifty yards, he was surrounded by five black people from the group. They demanded money and threatened to beat him up. “They said I was just a guy who drank too much and I couldn’t fight back,” Burke said. “I took off my glasses, put my false teeth in my pocket and told them that was not going to happen.” Burke surprised the mob, and himself, when he punched one of his robbers.

Standing drunk in the yard, while the rain soaked his hair and spread cold through the cloth of his doublet, Jerott thought of the fine design, firmly executed, of the campaign of Guînes and of Calais. And of his own joy and his liberation, after these huckstering years, to be again under the hand of this man, his arts at their meridian.

press charges. Meanwhile see what Angela Sullivan has to say for herself, find the house and have it forensically examined—that’s if it’s still standing.’ Arrests would mean fingerprints, thought Auhl. Then they could run those prints against the prints on the gun. ‘Boss.’ OUTSIDE SULLIVAN’S HOUSE Auhl stretched the kinks in his spine. Too much charging around the countryside in a car. He followed Claire to the front door, pressed the bell. Nothing. Pounded his fist. Nothing. ‘Let’s try around the back.’ The side path took them to a typical suburban yard: small garden beds, flowers, shrubs and a vegetable plot, all showing some semblance of design—rock borders painted white, a wooden garden seat artfully angled beneath a small gum tree, a wheelbarrow doubling as a flowerpot. Neat, but in an ongoing

Courting violence, as Plath’s early drafts of Falcon Yard show, was something of an aesthetic stance, and part of the couple’s shared mythology.

Here’s why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another’s conversations constantly. It’s like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor’s yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words “soccer” and “neighbor” in the same sentence, might interrupt and mention that your childhood neighbor was Pelé, the famous soccer player, and I might be courteous and say, Didn’t he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Três Corações with Pelé, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit—that I had a funny story about being chased by my neighbor’s dog—would be totally lost, and only because you had to tell me all about Pelé. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories. I listened that night and I heard.

If you had to pick a favorite place where you live, what would it be? It could be an inspiring place like a beautiful park or a lookout point. Or it could be a library, a café, or even your own front yard. Once you’ve settled on a special spot, bring sketching, writing, or painting supplies to this place. Make sure you have a comfortable spot to sit, then observe your surroundings. Notice the details, from the smells and sounds to the emotions you experience, as you sit. Now try to re-create this space in the creative medium of your choice — a story, poem, drawing, song, comic book, short movie — whatever you want. Express yourself via your chosen art medium. It doesn’t have to be perfect. When you’re done, challenge yourself to share your work with at least one person.

Visitors to Mason’s Yard in St. James’s will search in vain for Isherwood Fine Arts. They will, however, find the extraordinary Old Master gallery owned by my dear friend Patrick Matthiesen. A brilliant art historian blessed with an infallible eye, Patrick never would have allowed a misattributed work by Artemisia Gentileschi to languish in his storerooms for nearly a half century. The painting depicted in The Cellist does not exist. If it did, it would look a great deal like the one produced by Artemisia’s father, Orazio, that hangs in the National Gallery of Art in Washington. Like Julian Isherwood and his new managing partner, Sarah Bancroft, the inhabitants of my version of London’s art world are wholly fictitious, as are their sometimes-questionable antics. Their midsummer drinking session at Wiltons Restaurant would have been entirely permissible, as the landmark London eatery briefly reopened its doors before a rise in coronavirus infection rates compelled Prime Minister Boris Johnson to shut down all non-essential businesses. Wherever possible, I tried to adhere to prevailing conditions and government-mandated restrictions. But when necessary, I granted myself the license to tell my story without the crushing weight of the pandemic. I chose Switzerland as the primary setting for The Cellist because life there proceeded largely as normal until November 2020. That said, a private concert and reception at the Kunsthaus Zürich, even for a cause as worthy as democracy, likely could not have taken place in mid-October. I offer my profound apologies to the renowned Janine Jansen for the unflattering comparison to Anna Rolfe. Ms. Jansen is rightly regarded as one of her generation’s finest violinists, and Anna, of course, exists only in my imagination. She was introduced in the second Gabriel Allon novel, The English Assassin, along with Christopher Keller. Martin Landesmann, my committed if deeply flawed Swiss financier, made his debut in The Rembrandt Affair. The story of Gabriel’s blood-soaked duel with the Russian arms dealer Ivan Kharkov is told in Moscow Rules and its sequel, The Defector. Devotees of F. Scott Fitzgerald undoubtedly spotted the luminous line from The Great Gatsby that appears in chapter 32 of The Cellist. For the record, I am well aware that the headquarters of Israel’s secret intelligence service is no longer located on King Saul Boulevard in Tel Aviv. There is no safe house in the historic moshav of Nahalal—at least not one that I am aware of—and Gabriel and his family do not live on Narkiss Street in West Jerusalem. Occasionally, however, they can be spotted at Focaccia on Rabbi Akiva Street, one of my favorite restaurants in Jerusalem.

first hole at Prestwick in Scotland; the wind was howling out of the left. I started an eight-iron thirty yards to windward, but the gale caught it; I watched in dismay as the ball sailed hard right, hit the green going sideways, and bounded off into the cabbage. "Sonofabitch!" I turned to our caddie. "Did you see the wind take that shot!?" He gave that look that only Scottish caddies can give. "Well, ye've got t' play th' wind now,

The professional, on the other hand, understands delayed gratification. He is the ant, not the grasshopper; the tortoise, not the hare. Have you heard the legend of Sylvester Stallone staying up three nights straight to churn out the screenplay for Rocky? I don't know, it may even be true. But it's the most pernicious species of myth to set before the awakening writer, because it seduces him into believing he can pull off the big score without pain and without persistence. The professional arms himself with patience, not only to give the stars time to align in his career, but to keep himself from flaming out in each individual work. He knows that any job, whether it's a novel or a kitchen remodel, takes twice as long as he thinks and costs twice as much. He accepts that. He recognizes it as reality. The professional steels himself at the start of a project, reminding himself it is the Iditarod, not the sixty-yard dash. He conserves his energy. He prepares his mind for the long haul. He sustains himself with the knowledge that if he can just keep those huskies mushing, sooner or later the sled will pull in to Nome.

He was the guy who set school records for the 100-yard dash and gentle sheep shearing.

Do them often, and you will reap the benefit of being as grounded as possible. Take your shoes off and rub your feet on the ground. Be barefoot on the ground outside as often as you can be. Lie with your back on the ground and breathe deeply. Feel where your spine contacts the ground. Breathe yourself into your spine by concentrating on your backbone as you breathe in. Rub the palms of your hands and the soles of your feet together. Be in nature and in contact with the earth as much as possible. Go for a walk in the woods and sit under a tree. (Or hug one!) Sit on a rock or in the grass. Eat something fresh or drink spring water. Do something ordinary: have a cup of tea, do some yard work, sweep the floor, and so forth. Walk briskly, stretch, or do some yoga. Exercise always brings us back into our bodies. Try a grounding/earthing mat. I have one under my desk when I am on the computer and one under my Reiki table for healings.

It was a big rock, about knee high, on the edge of the cleared area, near the oak tree. It had been shaped into some kind of yard art. If I came back during daylight, I’d probably see that it had been carved into an American eagle holding the severed head of a terrorist or something. Grandma wasn’t exactly a patriot, but she dearly loved having an excuse to hate a whole group of people.

Excessive care takes the heart away from better things. And usually while we are thinking how we can live, we forget how to die. Worry is a spiritual cancer that wastes and demoralizes. Our worry is more likely to add a mile to our grief than a yard to our comfort

Sell your art, crafts, or any handcrafted item on etsy.com Develop a travel concierge service to help people when they miss their flights Offer online tutoring services in your field of expertise Host a networking event (charge a low ticket price and get sponsors to provide food) Create and sell a visitors’ guide to your town or city, or build a web resource for tourists, supported by advertisers Create an online (or offline) course in some quirky subject you happen to know a lot about Publish a blog with a new lesson on a specific topic every day Start a podcast and sell sponsorship Visit yard sales or thrift shops and buy items to resell Offer a simple freelance service—anything from fact-checking to tech support or something else entirely Become a home, office, or life organizer Manage P.R. or social media accounts for small businesses Buy and sell used textbooks to college students Sell your musings on business, art, or culture as a freelance writer Start a membership website, where people pay a monthly or annual fee to access useful information about a specific topic Write and publish a book (if I can do it, you can too!)

Beanie had bought a dog on Friday, a red setter, beautiful red shiny coat, but stupid, scatty and the worst dog she could have rescued from the pound for a two up two down with a small yard. They took it out all weekend. Jordi and Greg loved it and called it Dillan. When they came home from school that Monday, it had ripped the place to shreds. The curtain she had made herself, the rubbish bin contents, the sofa – in tatters. Everything up turned, crap everywhere. They cleaned up as best they could and hid upstairs with the dog. When she came home late, even though she had a skinful, she knew what the dog had done. They waited in bed, holding the dog. She was too strong. It screamed as she dragged it down the stairs.

Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.

The ceremony of Mexican baptism, which was beheld with astonishment by the Spanish Roman Catholic missionaries, is thus strikingly described in Prescott's Conquest of Mexico:--"When everything necessary for the baptism had been made ready, all the relations of the child were assembled, and the midwife, who was the person that performed the rite of baptism, was summoned. At early dawn, they met together in the court-yard of the house. When the sun had risen, the midwife, taking the child in her arms, called for a little earthen vessel of water, while those about her placed the ornaments, which had been prepared for baptism, in the midst of the court. To perform the rite of baptism, she placed herself with her face toward the west, and immediately began to go through certain ceremonies....After this she sprinkled water on the head of the infant, saying, "O my child, take and receive the water of the Lord of the world, which is our life, which is given for the increasing and renewing of our body. It is to wash and to purify. I pray that these heavenly drops may enter into your body, and dwell there; that they may destroy and remove from you all the evil and sin which was given you before the beginning of the world, since all of us are under its power.'.... She then washed the body of the child with water, and spoke in this manner: "Whencesoever thou comest, thou that art hurtful to this child, leave him and depart from him, for he now liveth anew, and is BORN ANEW; now he is purified and cleansed afresh, and our mother Chalchivitlycue [the goddess of water] bringeth him into the world.' Having thus prayed, the midwife took the child in both hands, and, lifting him towards heaven, said, "O Lord, thou seest here thy creature, whom thou hast sent into the world, thus place of sorrow, suffering, and penitence. Grant him, O Lord, thy gifts and inspiration, for thou art the Great God, and with thee is the great goddess.'" Here is the opus operatum without mistake. Here is baptismal regeneration and exorcism too, as thorough and complete as any Romish priest or lover of Tractarianism could desire.

Lydia had devoted herself- and her husband's money- toward making their home a "destination." She fancied herself floating through a household of the East Coast elite, dazzling them with continental cuisine, priceless art and antiques, and a perfectly stocked wine cellar. They would tour her gardens and marvel at her ability to create such a cultural oasis in the southern desert. In reality, every evening Lydia watched her guests meander across her yard to the Belles', where they delighted in such southern delicacies as moonshine in Mason jars, bawdy conversation, and shoofly pie.

My favorite idea to come out of the world of cultured meat is the 'pig in the backyard.' I say 'favorite' not because this scenario seems likely to materialize but because it speaks most directly to my own imagination. In a city, a neighborhood contains a yard, and in that yard there is a pig, and that pig is relatively happy. It receives visitors every day, including local children who bring it odds and ends to eat from their family kitchens. These children may have played with the pig when it was small. Each week a small and harmless biopsy of cells is taken from the pig and turned into cultured pork, perhaps hundreds of pounds of it. This becomes the community's meat. The pig lives out a natural porcine span, and I assume it enjoys the company of other pigs from time to time. This fantasy comes to us from Dutch bioethicists, and it is based on a very real project in which Dutch neighbourhoods raised pigs and then debated the question of their eventual slaughter. The fact that the pig lives in a city is important, for the city is the ancient topos of utopian thought. The 'pig in the backyard' might also be described as the recurrence of an image from late medieval Europe that has been recorded in literature and art history. This is the pig in the land of Cockaigne, the 'Big Rock Candy Mountain' of its time, was a fantasy for starving peasants across Europe. It was filled with foods of a magnificence that only the starving can imagine. In some depictions, you reached this land by eating through a wall of porridge, on the other side of which all manner of things to eat and drink came up from the ground and flowed in streams. Pigs walked around with forks sticking out of backs that were already roasted and sliced. Cockaigne is an image of appetites fullfilled, and cultured meat is Cockaigne's cornucopian echo. The great difference is that Cockaigne was an inversion of the experience of the peasants who imagined it: a land where sloth became a virtue rather than a vice, food and sex were easily had, and no one ever had to work. In Cockaigne, delicious birds would fly into our mouths, already cooked. Animals would want to be eaten. By gratifying the body's appetites rather than rewarding the performance of moral virtue, Cockaigne inverted heaven. The 'pig in the backyard' does not fully eliminate pigs, with their cleverness and their shit, from the getting of pork. It combines intimacy, community, and an encounter with two kinds of difference: the familiar but largely forgotten difference carried by the gaze between human animal and nonhuman animal, and the weirder difference of an animal's body extended by tissue culture techniques. Because that is literally what culturing animal cells does, extending the body both in time and space, creating a novel form of relation between an original, still living animal and its flesh that becomes meat. The 'pig in the backyard' tries to please both hippies and techno-utopians at once, and this is part of this vision of rus in urbe. But this doubled encounter with difference also promises (that word again!) to work on the moral imagination. The materials for this work are, first, the intact living body of another being, which appears to have something like a telos of its own beyond providing for our sustenance; and second, a new set of possibilities for what meat can become in the twenty-first century. The 'pig in the backyard' is only a scenario. Its outcomes are uncertain. It is not obvious that the neighbourhood will want to eat flesh, even the extended and 'harmless' flesh, of a being they know well, but the history of slaughter and carnivory on farms suggests that they very well might. The 'pig in the backyard' is an experiment in ethical futures. The pig points her snout at us and asks what kind of persons we might become.

The writer is an infantryman. He knows that progress is measured in yards of dirt extracted from the enemy one day, one hour, one minute at a time and paid for in blood.

If you want a vision of the bleak, bland capitalist future, go to Hudson Yards in New York City, the new, billion-dollar complex of gleaming skyscrapers. It's a lifeless shopping mall for luxury goods, intensely policed and surveilled, where every aspect of life is curated by a corporation... This is the city for the winners. The losers will be in homeless encampments outside the city gates. The left's city of the future looks very different. It is a Star Trek world, where we can travel through space together and meet aliens. It is public libraries and free colleges, where all can come and learn without worrying about money. It is Mardis Gras in New Orleans, where everyone expresses their individuality through art and costume without any regard for profit or commerce. It is camping trips and cookouts, book clubs and street cafes. It is the theory that life is meant to be enjoyed, and that nobody should lack the basic ingredients for a decent existence. It is, above all, the conviction that we're here to help each other through this thing, whatever it is.

HDC, so she had danced some of the most important roles. Then, after retiring from dancing, she’d become the ballet mistress at HDC. Ms. Ferri was so nice that I couldn’t help wishing she taught ballet at my school, Anna Hart School of the Arts, so that I could have her all week instead of just on the weekends. But Ms. Ferri was too busy conducting the daily class for the HDC’s professional dancers. And this year, she was busy rehearsing her own role in The Nutcracker, too—the role of Mother Ginger. Ms. Ferri’s stilts were made out of metal rods about a yard high. In New York City Ballet’s version of The Nutcracker, men played Mother Ginger because the costume was so big and heavy. But Ms. Ferri was tall and strong enough to handle it. After years of playing Mother Ginger, she was a pro at managing the costume’s weight while she walked on stilts. No one would see the stilts, because she’d wear a skirt big enough to hide them—plus eight kids. Ms. Ferri glanced my way when she heard the door to the studio close behind me. “Where have you been, Isabelle?

I didn’t go to seminary. I mean, the liberal arts school I attended academically expelled me! Thankfully, we don’t need any sort of education to understand how simple loving others and loving God is. So, go. Grab your blow-up Santa and put it in your front yard in July if it will help someone else feel more loved. Go. Take some cookies to your neighbor for no reason other than knowing that they, like most of us, probably need a reason to smile today. Pay for the person’s groceries or Starbucks order behind you. Compliment someone’s shoes while taking a walk. What can you do today that will make someone feel loved? It’s not going to be as complicated as you think. I promise.

swung by the American Repertory Theater, the ART in the Loeb Center, to pick up six tickets for Waitress, having reserved the best orchestra seats in the house. After that I backtracked on Massachusetts Avenue, cutting through the Yard and ending up where I am now on Quincy Street. I pass the Carpenter Center for the Visual Arts on my left,

I looked out over the lake, a vast plane of deep azure and emerald under a clear blue sky, noticing the reflection of the towering Italian Alps visible in the gentle ripples of the water. This, I thought to myself, is amazing. Just as my dopamine levels were peaking, the happiness dial turned to eleven, my attention was drawn to a peculiar object hovering in the air roughly twenty yards in front of me, spiraling my direction like a tiny heat seeking missile locked on to my forehead. Curious, I thought to myself. Before I could react, the object—a giant bee from hell—contacted the front of my helmet.