But I’m old now and Ward has made himself rich and powerful. He has the resources to ensure that one day he’ll perfect his standardising system and if that happens, instead of a thousand Wards there will be a hundred thousand, a million, a billion. He’ll grow exponentially until there’s nothing and no one else left. Just Ward, Ward, Ward in every house, in every town and every city, in every country in the world. Forever.
Now, I'm not going to deny that I was aware of your beauty. But the point is, this has nothing to do with your beauty. As I got to know you, I began to realise that beauty was the least of your qualities. I became fascinated by your goodness. I was drawn in by it. I didn't understand what was happening to me. And it was only when I began to feel actual, physical pain every time you left the room that it finally dawned on me: I was in love, for the first time in my life. I knew it was hopeless, but that didn't matter to me. And it's not that I want to have you. All I want is to deserve you. Tell me what to do. Show me how to behave. I'll do anything you say.
Our guy has a property office, John. And I don't mean the Property Office here in One PP. I mean the huge fucking storage facility. A guy in there, with access to thousands of fucking handguns. Even the ones that other people would be keeping an eye on, like Son of Sam's piece, for fuck's sake - a guy in there who'll just boost them and give them to our guy to kill people with. And if the guns are too famous, he'll cut his own slugs out of the bodies and walk away. This guy, our guy, he's actually starting to scare me a bit right now.""A couple of hundred kills to his name didn't do that?""Meh. I dream about killing two hundred people every fucking night.""You know," said Tallow, "whenever I'm in danger of forgetting you're CSU, you always find a way to remind me.
Ah, I believe Schacht. Only too willingly; that’s to say, I think what he says is absolutely true, for the world is incomprehensibly crass, tyrannical, moody, and cruel to sickly and sensitive people. Well, Schacht will stay here for the time being. We laughed at him a bit, when he arrived, that can’t be helped either, Schacht is young and after all can’t be allowed to think there are special degrees, advantages, methods, and considerations for him. He has now had his first disappointment, and I’m convinced that he’ll have twenty disappointments, one after the other. Life with its savage laws is in any case for certain people a succession of discouragements and terrifying bad impressions. People like Schacht are born to feel and suffer a continuous sense of aversion. He would like to admit and welcome things, but he just can’t. Hardness and lack of compassion strike him with tenfold force, he just feels them more acutely. Poor Schacht. He’s a child and he should be able to revel in melodies and bed himself in kind, soft, carefree things. For him there should be secret splashings and birdsong. Pale and delicate evening clouds should waft him away in the kingdom of Ah, What’s Happening to Me? His hands are made for light gestures, not for work. Before him breezes should blow, and behind him sweet, friendly voices should be whispering. His eyes should be allowed to remain blissfully closed, and Schacht should be allowed to go quietly to sleep again, after being wakened in the morning in the warm, sensuous cushions. For him there is, at root, no proper activity, for every activity is for him, the way he is, improper, unnatural, and unsuitable. Compared with Schacht I’m the trueblue rawboned laborer. Ah, he’ll be crushed, and one day he’ll die in a hospital. or he’ll perish, ruined in body and soul, inside one of our modern prisons.
I'm 2-for-8 now, so it has worked for me. I understand I have and will continue to receive criticism over that. I find that for me to prepare my best, to get away from all the hoopla that goes on the weeks of a major and get some quiet practice allows me to be focused and sharpest when Thursday comes. I'll continue to expect similar results.
I'm trying to decide what's worse. Someone being gone, but still out there, or someone being gone forever, dead. I think someone being gone, but still out there, might be worse. Then there’s always the chance, the hoping, the wondering if things might change. If maybe one day he’ll come back. There’s also the wondering about what his new life is like. The life without you. Is he happier? And if he is, you’re left being sad, wondering what it would be like if you were happy with him. But when someone is dead, he’s dead. He’s not coming back. There is no second chance. Death is a period at the end of a sentence. Someone gone, but still out there, is an ellipsis…or a question to be answered.
I'm not looking to get my old man out. But I think he can relax more instead of being here all the time. He needs his time away to do his fishing and hunting. He'll be 65 in October, his health is good but it will get to a point where he'll wonder how much more he wants to accomplish. There are some places he'd like to fish in South America and Africa that he can't because when it's their summer it's our winter [during basketball season]. We've got the continuity in place now. This has worked out really well.
I’m sorry,”’ he says. ‘Getting injections, and experiencing pain, is part of life. There’s no reason to apologize for that.’ He seems to be channelling Rousseau, who said, ‘If by too much care you spare them every kind of discomfort, you are preparing great miseries for them.’ (I’m not sure what Rousseau thought about suppositories.)
I mean, d'you know what eternity is? There's this big mountain, see, a mile high, at the end of the universe, and once every thousand years there's this little bird-""What little bird?" said Aziraphale suspiciously."This little bird I'm talking about. And every thousand years-""The same bird every thousand years?"Crowley hesitated. "Yeah," he said."Bloody ancient bird, then.""Okay. And every thousand years this bird flies-""-limps-""-flies all the way to this mountain and sharpens its beak-""Hold on. You can't do that. Between here and the end of the universe there's loads of-" The angel waved a hand expansively, if a little unsteadily. "Loads of buggerall, dear boy.""But it gets there anyway," Crowley persevered."How?""It doesn't matter!""It could use a space ship," said the angel.Crowley subsided a bit. "Yeah," he said. "If you like. Anyway, this bird-""Only it is the end of the universe we're talking about," said Aziraphale. "So it'd have to be one of those space ships where your descendants are the ones who get out at the other end. You have to tell your descendants, you say, When you get to the Mountain, you've got to-" He hesitated. "What havethey got to do?""Sharpen its beak on the mountain," said Crowley. "And then it flies back-""-in the space ship-""And after a thousand years it goes and does it all again," said Crowley quickly.There was a moment of drunken silence."Seems a lot of effort just to sharpen a beak," mused Aziraphale."Listen," said Crowley urgently, "the point is that when the bird has worn the mountain down to nothing, right, then-"Aziraphale opened his mouth. Crowley just knew he was going to make some point about the relative hardness of birds' beaks and granite mountains, and plunged on quickly."-then you still won't have finished watching The Sound of Music."Aziraphale froze."And you'll enjoy it," Crowley said relentlessly. "You really will.""My dear boy-""You won't have a choice.""Listen-""Heaven has no taste.""Now-""And not one single sushi restaurant."A look of pain crossed the angel's suddenly very serious face.
I understand addiction now. I never did before, you know. How could a man (or a woman) do something so self-destructive, knowing that they’re hurting not only themselves, but the people they love? It seemed that it would be so incredibly easy for them to just not take that next drink. Just stop. It’s so simple, really. But as so often happens with me, my arrogance kept me from seeing the truth of the matter.I see it now though.Every day, I tell myself it will be the last. Every night, as I’m falling asleep in his bed, I tell myself that tomorrow I’ll book a flight to Paris, or Hawaii, or maybe New York. It doesn’t matter where I go, as long as it’s not here. I need to get away from Phoenix—away from him—before this goes even one step further.And then he touches me again, and my convictions disappear like smoke in the wind.This cannot end well. That’s the crux of the matter, Sweets. I’ve been down this road before—you know I have—and there’s only heartache at the end. There’s no happy ending waiting for me like there was for you and Matt. If I stay here with him, I will become restless and angry. It’s happening already, and I cannot stop it. I’m becoming bitter and terribly resentful. Before long, I will be intolerable, and eventually, he’ll leave me. But if I do what I have to do, what my very nature compels me to do, and move on, the end is no better. One way or another, he’ll be gone. Is it not wiser to end it now, Sweets, before it gets to that point? Is it not better to accept that this happiness I have is destined to self-destruct?Tomorrow I will leave. Tomorrow I will stop delaying the inevitable. Tomorrow I will quit lying to myself, and to him. Tomorrow.What about today, you ask? Today it’s already too late. He’ll be home soon, and I have dinner on the stove, and wine chilling in the fridge. And he will smile at me when he comes through the door, and I will pretend like this fragile, dangerous thing we have created between us can last forever.Just one last time, Sweets. Just one last fix. That’s all I need.And that is why I now understand addiction.
I had to stop him from arresting an old lady who let her dog urinate against the fire hydrant that was in front of Burgerville headquarters."You'll blow our cover.""But what if there is a fire?""The fire department will come and put it out," I said."With what?""Water," I said."Not from that hydrant," Monk said. "It's inoperable.""No, it's not," I said. "It can still be used.""There is urine all over it," Monk said. "no fireman would dare touch it, nor would any other human being.""Firefighters run into burning buildings," I said."They aren't going to care about some dog pee on a fire hydrant.""They would if they knew," Monk said. "We should call and warn them. Call Joe right now. He can get the word out faster than we can.""Every fire hydrant in the city has dog pee on it, Mr. Monk. It's how dogs mark their territory. I can guarantee you that every male dog that has passed that hydrant has pissed on it."He looked at me, wide eyed, "No.""It's what dogs do," I said. "The firefighters knows this."Monk swallowed hard. "And they still use the hydrants?""Of course they do.""They are the bravest men on earth," Monk said solemnly.
I hope I have now made it clear why I thought it best, in speaking of the dissonances between fiction and reality in our own time, to concentrate on Sartre. His hesitations, retractations, inconsistencies, all proceed from his consciousness of the problems: how do novelistic differ from existential fictions? How far is it inevitable that a novel give a novel-shaped account of the world? How can one control, and how make profitable, the dissonances between that account and the account given by the mind working independently of the novel?For Sartre it was ultimately, like most or all problems, one of freedom. For Miss Murdoch it is a problem of love, the power by which we apprehend the opacity of persons to the degree that we will not limit them by forcing them into selfish patterns. Both of them are talking, when they speak of freedom and love, about the imagination. The imagination, we recall, is a form-giving power, an esemplastic power; it may require, to use Simone Weil's words, to be preceded by a 'decreative' act, but it is certainly a maker of orders and concords. We apply it to all forces which satisfy the variety of human needs that are met by apparently gratuitous forms. These forms console; if they mitigate our existential anguish it is because we weakly collaborate with them, as we collaborate with language in order to communicate. Whether or no we are predisposed towards acceptance of them, we learn them as we learn a language. On one view they are 'the heroic children whom time breeds / Against the first idea,' but on another they destroy by falsehood the heroic anguish of our present loneliness. If they appear in shapes preposterously false we will reject them; but they change with us, and every act of reading or writing a novel is a tacit acceptance of them. If they ruin our innocence, we have to remember that the innocent eye sees nothing. If they make us guilty, they enable us, in a manner nothing else can duplicate, to submit, as we must, the show of things to the desires of the mind. I shall end by saying a little more about La Nausée, the book I chose because, although it is a novel, it reflects a philosophy it must, in so far as it possesses novel form, belie. Under one aspect it is what Philip Thody calls 'an extensive illustration' of the world's contingency and the absurdity of the human situation. Mr. Thody adds that it is the novelist's task to 'overcome contingency'; so that if the illustration were too extensive the novel would be a bad one. Sartre himself provides a more inclusive formula when he says that 'the final aim of art is to reclaim the world by revealing it as it is, but as if it had its source in human liberty.' This statement does two things. First, it links the fictions of art with those of living and choosing. Secondly, it means that the humanizing of the world's contingency cannot be achieved without a representation of that contingency. This representation must be such that it induces the proper sense of horror at the utter difference, the utter shapelessness, and the utter inhumanity of what must be humanized. And it has to occur simultaneously with the as if, the act of form, of humanization, which assuages the horror.This recognition, that form must not regress into myth, and that contingency must be formalized, makes La Nausée something of a model of the conflicts in the modern theory of the novel. How to do justice to a chaotic, viscously contingent reality, and yet redeem it? How to justify the fictive beginnings, crises, ends; the atavism of character, which we cannot prevent from growing, in Yeats's figure, like ash on a burning stick? The novel will end; a full close may be avoided, but there will be a close: a fake fullstop, an 'exhaustion of aspects,' as Ford calls it, an ironic return to the origin, as in Finnegans Wake and Comment c'est. Perhaps the book will end by saying that it has provided the clues for another, in which contingency will be defeated, ...
I am now 33 years old, and it feels like much time has passed and is passing faster and faster every day. Day to day I have to make all sorts of choices about what is good and important and fun, and then I have to live with the forfeiture of all the other options those choices foreclose. And I'm starting to see how as time gains momentum my choices will narrow and their foreclosures multiply exponentially until I arrive at some point on some branch of all life's sumptuous branching complexity at which I am finally locked in and stuck on one path and time speeds me through stages of stasis and atrophy and decay until I go down for the third time, all struggle for naught, drowned by time. It is dreadful. But since it's my own choices that'll lock me in, it seems unavoidable--if I want to be any kind of grownup, I have to make choices and regret foreclosures and try to live with them.
When I’m gone, time won’t change. It will pass the way it always has. I’ve seen it happen. People always move on. You will find your mate. You will move on then I’ll be nothing but a memory, but I will never forget you. I will always love you for you have drawn emotions in me no other has in two thousand years. I will live with the memory of you in my heart because nothing can erase you from within me. You have forever changed me. You’ve taught me what it’s like to truly love.
No! I don't want to speak of that! But I'm going to. I want you to hear. I want you to know what's in store for you. There will be days when you'll look at your hands and you'll want to take something and smash every bone in them, because they'll be taunting you with what they could do, if you found a chance for them to do it, and you can't find that chance, and you can't bear your living body because it has failed those hands somewhere. There will be days when a bus driver will snap at you as you enter a bus, and he'll be only asking for a dime, but that won't be what you hear; you'll hear that you're nothing, that he's laughing at you, that it's written on your forehead, that thing they hate you for. There will be days when you'll stand in the corner of a hall and listen to a creature on a platform talking about buildings, about the work you love, and the things he'll say will make you wait for somebody to rise and crack him open between two thumbnails; and then you'll hear people applauding him, and you'll want to scream, because you won't know whether they're real or you are, whether you're in a room full of gored skulls, or whether someone has just emptied your own head, and you'll say nothing, because the sounds you could make - they're not a language in that room any longer; but you'd want to speak, you won't anyway, because you'll be brushed aside, you who have nothing to tell them about buildings! Is that what you want?
For JennAt 12 years old I started bleeding with the moonand beating up boys who dreamed of becoming astronauts.I fought with my knuckles white as stars,and left bruises the shape of Salem.There are things we know by heart,and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke.I'd watch the nicotine rising from her lips like halos,but I could never make dying beautiful.The sky didn't fill with colors the night I convinced myselfveins are kite strings you can only cut free.I suppose I love this life,in spite of my clenched fist.I open my palm and my lifelines look like branches from an Aspen tree,and there are songbirds perched on the tips of my fingers,and I wonder if Beethoven held his breaththe first time his fingers touched the keysthe same way a soldier holds his breaththe first time his finger clicks the trigger.We all have different reasons for forgetting to breathe.But my lungs rememberthe day my mother took my hand and placed it on her bellyand told me the symphony beneath was my baby sister's heartbeat.And I knew life would tremblelike the first tear on a prison guard's hardened cheek,like a prayer on a dying man's lips,like a vet holding a full bottle of whisky like an empty gun in a war zone…just take me just take meSometimes the scales themselves weigh far too much,the heaviness of forever balancing blue sky with red blood.We were all born on days when too many people died in terrible ways,but you still have to call it a birthday.You still have to fall for the prettiest girl on the playground at recessand hope she knows you can hit a baseballfurther than any boy in the whole third gradeand I've been running for homethrough the windpipe of a man who singswhile his hands playing washboard with a spoonon a street corner in New Orleanswhere every boarded up window is still painted with the wordsWe're Coming Backlike a promise to the oceanthat we will always keep moving towards the music,the way Basquait slept in a cardboard box to be closer to the rain.Beauty, catch me on your tongue. Thunder, clap us open.The pupils in our eyes were not born to hide beneath their desks.Tonight lay us down to rest in the Arizona desert,then wake us washing the feet of pregnant womenwho climbed across the border with their bellies aimed towards the sun.I know a thousand things louder than a soldier's gun.I know the heartbeat of his mother.Don't cover your ears, Love.Don't cover your ears, Life.There is a boy writing poems in Central Parkand as he writes he movesand his bones become the bars of Mandela's jail cell stretching apart,and there are men playing chess in the December coldwho can't tell if the breath rising from the boardis their opponents or their own,and there's a woman on the stairwell of the subwayswearing she can hear Niagara Falls from her rooftop in Brooklyn,and I'm remembering how Niagara Falls is a city overrunwith strip malls and traffic and vendorsand one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect.I am not the type to mistake a streetlight for the moon.I know our wounds are deep as the Atlantic.But every ocean has a shorelineand every shoreline has a tidethat is constantly returningto wake the songbirds in our hands, to wake the music in our bones,to place one fearless kiss on the mouth of that brave riverthat has to run through the center of our heartsto find its way home.
I’m not a woman you bring home to Mother, pick out china patterns with, or Mary forefend, breed. I’ve seen a chunk of the universe, true, but there’s still so much more to see. I doubt I’ll ever cure this wanderlust, and I’m content with dedicating my life to failing to sate it... He’s never going to sit at my feet and write me poems, which is good because I hate poetry, except dirty ones that rhyme.