A large piece of lead floated out of Bobby head, followed by dark chunks of what could only be pieces of Bobby's brain.The torrent started up again. It flowed steady rather than pulsed with his heart. I knew from that, and from the amount of blood, that it was that mofo vein bleeding. And probably more than a small tear if the amount of blood was telling. I thought there had to be a hole the size of Montana in that thing."Jesus Mother Mary" I said, then "Stitch!"The scrub tech slapped a needle holder into my palm, a curved needle and silk stitch clamped into the end of it. I might have closed my eyes—I've been told I do that sometimes in surgery when I'm trying to visualize something—though if so I don't remember doing it. I took that needle and aimed it into the pool of blood."Suck here Joe, right here."When I thought I could see something, something gray and not black red, I plunged the pointy end of the needle through whatever the visible tissue was and looped it out again. I cinched it down and tied it quick, then repeated the maneuver again after adjusting slightly for lighting, sweating, my own bounding heartbeat, and the regret I wasn't wearing my own diaper.We're losing, I thought.

I have often wondered, Sir, [. . .] to observe so few Instances of Charity among Mankind; for tho' the Goodness of a Man's Heart did not incline him to relieve the Distresses of his Fellow-Creatures, methinks the Desire of Honour should move him to it. What inspires a Man to build fine Houses, to purchase fine Furniture, Pictures, Clothes, and other things at a great Expence, but an Ambition to be respected more than other People? Now would not one great Act of Charity, one Instance of redeeming a poor Family from all the Miseries of Poverty, restoring an unfortunate Tradesman by a Sum of Money to the means of procuring a Livelihood by his Industry, discharging an undone Debtor from his Debts or a Goal, or any such Example of Goodness, create a Man more Honour and Respect than he could acquire by the finest House, Furniture, Pictures or Clothes that were ever beheld? For not only the Object himself who was thus relieved, but all who heard the Name of such a Person must, I imagine, reverence him infinitely more than the Possessor of all those other things: which when we so admire, we rather praise the Builder, the Workman, the Painter, the Laceman, the Taylor, and the rest, by whose Ingenuity they are produced, than the Person who by his Money makes them his own.

When the gap between the world of the city and the world my grandfather had presented to me as right and good became too wide and depressing to tolerate, I'd turn to my other great love, which was pulp adventure fiction. Despite the fact that [he] would have had nothing but scorn and loathing for all of those violent and garish magazines, there was a sort of prevailing morality in them that I'm sure he would have responded to. The world of Doc Savage and The Shadow was one of absolute values, where what was good was never in the slightest doubt and where what was evil inevitably suffered some fitting punishment. The notion of good and justice espoused by Lamont Cranston with his slouch hat and blazing automatics seemed a long way from that of the fierce and taciturn old man I remembered sitting up alone into the Montana night with no company save his bible, but I can't help feeling that if the two had ever met they'd have found something to talk about. For my part, all those brilliant and resourceful sleuths and heroes offered a glimpse of a perfect world where morality worked the way it was meant to. Nobody in Doc Savage's world ever killed themselves except thwarted kamikaze assassins or enemy spies with cyanide capsules. Which world would you rather live in, if you had the choice?

In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure.In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts.("Introduction")

Suddenly William loomed over him, scowling, snarling and bloody, his suit dirt-stained and ripped. “Do you know. How many strands. Of hair I lost. On my way down?”Whatever. “Math was never my thing, but I’m gonna say you lost…a lot.”Electric-blues glittered with menace. “You are a cruel, sadistic bastard. My hair needs TLC and you…you… Damn you! I’ve gutted men for less.”“I know. I’ve watched you.” Paris lumbered to his feet and scanned the rocky bank they stood upon, the crimson ocean lapping and bubbling in every direction. The drawbridge was only a fifty-yard dash away. “Don’t kill the messenger, but I’m thinking you should change your dating profile to balding.”Masculine cheeks went scarlet as the big bad warrior struggled for a comeback.… “One of these days you’re going to wake up,” William finally said, “and I will have shaved you. Everywhere.”“Won’t make a difference. Women will still want me. But you know what else? What I did to you wasn’t cruel, Willy.” He offered the warrior a white-flag grin. A trick. A lie. “This, however, is.”He grabbed William by the wrist, swung the man around and around before at last releasing him and hurling his body directly onto the bridge.

I have never battled a gargoyle before.” Zacharel shook his head, a dark lock of hair tumbling into one emerald eye. Damp from the melting snow, the hair stuck to his skin. He didn’t seem to notice. “But I am certain these will murder Paris before willingly carrying him inside.”As if he were the only intelligent life form left in existence, William splayed his arms. “And the problem with that? He’ll still be inside, exactly where he wants to be. And by the way,” he added, blinking at Paris with lashes so long they should have belonged to a girl. “Your new permanent eyeliner is very pretty. You’ll make a good-looking corpse.”Do not react. He did, and the teasing about his ash/ambrosia tattoos would never end. “Thanks.”“I prefer the lip liner, though. A nice little feminine touch that really makes your eyes pop.”“Again, thanks,” he gritted.He wants us!Stupid demon.William grinned. “Maybe we can make out later. I know you want me.”Tell him yes!Not another word out of you, or—“Paris? Warrior?” Zacharel said. “Are youlistening to me?”“No.”Zach nodded, apparently not the least offended. “I enjoy your honesty, though I believe you suffer from what the humans call ADD.”“Oh, yeah. I definitely have attention deficient demon.

Aref knelt, reached into his pocket and produced an implement made from a small stick which he called his miswak, the use of which he silently illustrated before handing her his spare. He also gave her a clean cloth and a bowl of the freshly collected water. She was directed to soften the dry stick in the water, then copy him by cleaning her mouth, using the miswak like a toothbrush. Gazing at the blood on the cloth, then down at the clothing the native had placed over her legs, soldier Freeman sighed. Aref watched and waited and then, sitting back on his haunches, showed her too that she must rub her feet and calves to stimulate the circulation. She copied him again, sliding her hands across the tops of her ankles and flexing her toes. Glad that she had followed his direction for once, Aref took a more relaxed break, sitting away from her and taking out his carving tools. He whetted his utility knife with the small stone he carried, studying the soldier’s reaction closely from afar. Instantly, he sensed her distrust. She stared at the knife in his hands, as if he might use it against her, but he continued working peacefully, then slid the implements back into his pockets and loaded his miswak onto the belt at his hips, wondering, with the gentle sarcasm his friends had so appreciated in him, how much of his adult life it could conceivably take to prove to this woman he was worthy.

My conception of a novel is that it ought to be a personal struggle, a direct and total engagement with the author's story of his or her own life. This conception, again, I take from Kafka, who, although he was never transformed into an insect, and although he never had a piece of food (an apple from his family's table!) lodged in his flesh and rotting there, devoted his whole life as a writer to describing his personal struggle with his family, with women, with moral law, with his Jewish heritage, with his Unconscious, with his sense of guilt, and with the modern world. Kafka's work, which grows out of the nighttime dreamworld in Kafka's brain, is *more* autobiographical than any realistic retelling of his daytime experiences at the office or with his family or with a prostitute could have been. What is fiction, after all, if not a kind of purposeful dreaming? The writer works to create a dream that is vivid and has meaning, so that the reader can then vividly dream it and experience meaning. And work like Kafka's, which seems to proceed directly from dream, is therefore an exceptionally pure form of autobiography. There's an important paradox here that I would like to stress: the greater the autobiographical content of a fiction writer's work, the *smaller* its superficial resemblance to the writer's actual life. The deeper the writer digs for meaning, the more the random particulars of the writer's life become *impediments* to deliberate dreaming.

Grover spit expertly between his teeth. "You know, Nerburn," he said, "you're like those treaty negotiators we used to have to deal with. Always in a hurry. Sometimes there are preliminaries." "There are preliminaries and there are evasions," I said. "Look out there." I swept my hand across the blazing, parched horizon. "We've got to get moving if we want to get up there before it's a hundred and ten degrees." "Just relax. He's just doing it the Lakota way, by laying out the history. That's how we remember our history, by telling our story," "But does every story have to start with Columbus?" "Everything starts with Columbus. At least everything to do with white people." "But what's with the French fries?" "He likes to get rid of the salt." "No, the piles. First he insists on getting exactly twenty-eight, then he divides them into piles. It doesn't make any sense." A small smile crept across Grover's face. "How many piles?" he asked. "Four." He spit one more time onto the ground. It made a small puff of explosion in the dust. "Mmm. Twenty-eight French fries. Four piles of seven." He made a great charade of counting on his fingers. "Let's see. Four seasons. Four directions. Four stages of life. "Seven council fires. Seven sacred rituals. The moon lives for twenty-eight days. Yeah, I guess that doesn't make any sense." "That's crazy," I said. "What is it? Some kind of Lakota French fry rosary?

We take off into the cosmos, ready for anything: for solitude, for hardship, for exhaustion, death. Modesty forbids us to say so, but there are times when we think pretty well of ourselves. And yet, if we examine it more closely, our enthusiasm turns out to be all a sham. We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. For us, such and such a planet is as arid as the Sahara, another as frozen as the North Pole, yet another as lush as the Amazon basin. We are humanitarian and chivalrous; we don't want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. A single world, our own, suffices us; but we can't accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, a civilization superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don't like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don't leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us - that part of our reality which we would prefer to pass over in silence - then we don't like it anymore.

Here’s what happens when a single mom meets New York City’s hottest fireman…“Then…seductively…as if he received instruction not from the FDNY’s training school but at Chippendale’s…he slowly inches each suspender off his bare shoulders.”“You must know that exhilarating feeling of a man’s body on top of yours, all that power and muscle pressing you into the bed, the glorious taste of his tongue in your mouth, the manly scent that washes over you and makes you want to melt underneath him.”“Let’s not forget about his nine inches of shapely fireman hose dangling so close in front of my face the scent launches me into a blissful fever.”“Every place he touches contradicts his chosen profession, because instead of putting out a fire he surely starts one.”“I’m so darn helpless in the arms of this powerful, young, ripped personification of New York’s Bravest that I feel myself about to erupt in the most earth shattering explosion since Mount Vesuvius last announced her presence.”“I wonder if he could be enticed to show us a few maneuvers on the brass pole.”“He orchestrates his own personal opera, inspiring high notes with kisses and licks along my elongated nipples, and deep moans with hands that caress my belly.”“We are drawn uncontrollably to each other and have no power to resist, only the tremendous desire to experience everything in its most intense form.

The art of fiction has not changed much since prehistoric times. The formula for telling a powerful story has remained the same: create a strong character, a person of great strengths, capable of deep emotions and decisive action. Give him a weakness. Set him in conflict with another powerful character -- or perhaps with nature. Let his exterior conflict be the mirror of the protagonist's own interior conflict, the clash of his desires, his own strength against his own weakness. And there you have a story. Whether it's Abraham offering his only son to God, or Paris bringing ruin to Troy over a woman, or Hamlet and Claudius playing their deadly game, Faust seeking the world's knowledge and power -- the stories that stand out in the minds of the reader are those whose characters are unforgettable.To show other worlds, to describe possible future societies and the problems lurking ahead, is not enough. The writer of science fiction must show how these worlds and these futures affect human beings. And something much more important: he must show how human beings can and do literally create these future worlds. For our future is largely in our own hands. It doesn't come blindly rolling out of the heavens; it is the joint product of the actions of billions of human beings. This is a point that's easily forgotten in the rush of headlines and the hectic badgering of everyday life. But it's a point that science fiction makes constantly: the future belongs to us -- whatever it is. We make it, our actions shape tomorrow. We have the brains and guts to build paradise (or at least try). Tragedy is when we fail, and the greatest crime of all is when we fail even to try.Thus science fiction stands as a bridge between science and art, between the engineers of technology and the poets of humanity.

Before he went away, he had heard all about the self-made girl, and there was something in the picture that strongly impressed him. She was possible doutbless only in America; American life had smoothed the way for her. She was not fast, nor emancipated, nor crude, nor loud, and there wasn’t in her, of necessity at least, a grain of the stuff of which the adventuress is made.She was simply very successful, and her success was entirely personal. She hadn’t been born with the silver spoon of social opportunity, she had grasped it by honest exertion. You knew her by many different signs, but chiefly, infallibly, by the appearance of her parents. It was her parents who told her story; you always saw how little her parents could have made her. Her attitude with regard to them might vary in different ways. As the great fact on her own side was that she had lifted herself from a lower social plane, done it all herself, and done it by the simple lever of her personality, it was naturally to be expected that she would leave the authors of her mere material being in the shade.(…)But the general characteristic of the self-made girl was that, though it was frequently understood that she was privately devoted to her kindred, she never attempted to impose them on society, and it was striking that, though in some of her manifestations a bore, she was at her worst less of a bore than they. They were almost always solemn and portentous, and they were for the most part of a deathly respectability. She wasn’t necessarily snobbish, unless it was snobbish to want the best. She didn’t cringe, she didn’t make herself smaller than she was, she took on the contrary a stand of her own and attracted things to herself.Naturally she was possible only in America, only in a country where whole ranges of competition and comparison were absent.

What would you like for your own life, Kate, if you could choose?”“Anything?”“Of course anything.”“That’s really easy, Aunty Ivy.”“Go on then.”“A straw hat...with a bright scarlet ribbon tied around the top and a bow at the back. A tea-dress like girls used to wear, with big red poppies all over the fabric. A pair of flat, white pumps, comfortable but really pretty. A bicycle with a basket on the front. In the basket is a loaf of fresh bread, cheese, fruit oh...and a bottle of sparkly wine, you know, like posh people drink. “I’m cycling down a lane. There are no lorries or cars or bicycles. No people – just me. The sun is shining through the trees, making patterns on the ground. At the end of the lane is a gate, sort of hidden between the bushes and trees. I stop at the gate, get off the bike and wheel it into the garden.“In the garden there are flowers of all kinds, especially roses. They’re my favourite. I walk down the little path to a cottage. It’s not big, just big enough. The front door needs painting and has a little stained glass window at the top. I take the food out of the basket and go through the door. “Inside, everything is clean, pretty and bright. There are vases of flowers on every surface and it smells sweet, like lemon cake. At the end of the room are French windows. They need painting too, but it doesn’t matter. I go through the French windows into a beautiful garden. Even more flowers there...and a veranda. On the veranda is an old rocking chair with patchwork cushions and next to it a little table that has an oriental tablecloth with gold tassels. I put the food on the table and pour the wine into a glass. I’d sit in the rocking chair and close my eyes and think to myself... this is my place.”From A DISH OF STONES

كانت ترى أن الطيور هي أكثر الكائنات تحرُّرا لأن أجنحتها تتيح لها السفروالتنقل من مكان لأخر بدون جواز سفر ولا مطار. السماء ملعبها وأشجاروغصون العالم بيوتها وطعامها من الحبوب متوافر دائمًا. فلايمكن أن ترىطيرًا يمنع الطعام عن طير آخر أو يحبسه أو يتحكم فيه، وهذا ينطبق على باقيالكائنات التي تعيش في انسجام تام مع الطبيعة، ما عدا الإنسان