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“You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, I'm your mirror; if I can do this in my life, you can do it in yours.”

“You see, when a nation threatens another nation the people of the latter forget their factionalism, their local antagonisms, their political differences, their suspicions of each other, their religious hostilities, and band together as one unit. Leaders know that, and that is why so many of them whip up wars during periods of national crisis, or when the people become discontented and angry. This is the explanation of all wars, all racial and religious hatreds, all massacres, and all attempts at genocide.”

“You see, when you're middle class, you have to live with the fact that history will ignore you. You have to live with the fact that history can never champion your causes and that history will never feel sorry for you. It is the price that is paid for day-to-day comfort and silence. And because of this price, all happinesses are sterile; all sadnesses go unpitied.”

“You see, with [designing]weapons, it is like a woman who bears children. For months she carries her baby and thinks about it. A designer does much the same thing with a prototype. I felt like a mother - always proud. It is a special feeling, as if you were awarded with a special award. I shot with it a lot. I still do now. That is why I am hard of hearing.”

“You see, women are like fires, like flames. Some women are like candles, bright and friendly. Some are like single sparks, or embers, like fireflies for chasing on summer nights. Some are like campfires, all light and heat for a night and willing to be left after. Some women are like hearthfires, not much to look at but underneath they are all warm red coal that burns a long, long while.”

“You see, writing down your meanderings gets something started deep in the recesses of your brain. That distant part of your mind knows that you want to write stories or poems or plays and not endless jabber, and it will get to work. It may take a while. You may have to write this stuff for hours or days or weeks, but eventually that subterranean part of your brain will come through and begin to send you ideas.”

“You see, years ago I was just an ordinary bee minding my own business, smelling flowers all day, and occasionally picking up part-time work in people's bonnets. Then one day I realized that I'd never amount to anything without an education and, being naturally adept at spelling, I decided that—”

“You see, you closed your eyes. That was the difference. Sometimes you cannot believe what you see, you have to believe what you feel. And if you are ever going to have other people trust you, you must feel that you can trust them, too--even when you’re in the dark. Even when you’re falling.”

“You see, you’re doing it again. Telling me nothing. (Tory) You know, trust is always a good idea…for someone else. Every time I’ve ever made the mistake of trusting someone…it was a mistake that I regretted and paid for dearly. I’m really happy that no one has ever hurt you badly. I haven’t been so lucky, okay? (Acheron)”

“You see," she concluded miserably, "when I can call like that to him across space--I belong to him. He doesn't love me--he never will--but I belong to him.”

“You see? Characters in books do not read books. Oh, they snap them shut when somebody enters a room, or fling them aside in disgust at what they fancy is said within, or hide their faces in one which they pretend to peruse while somebody else lectures them on matters they'd rather not confront. But they do not read them. 'Twould be recursive, rendering each book effectively infinite, so that no single one might be finished without reading them all. This is the infallible message of discovering on which side of the page you are on.”

“You seek escape from pain. We seek the achievement of happiness. You exist for the sake of avoiding punishment. We exist for the sake of earning rewards. Threats will not make us function; fear is not our incentive. It is not death that we wish to avoid, but life that we wish to live”

“You seem a bit quiet, bro,” Eugene remarked in a low voice. “Not that you’re what I’d describe as chatty, but normally you’d have accidentally insulted someone by now. Something wrong?” He was tempted to snap, but Eugene was a teammate, too. Seiji cleared his throat. “Nicholas is angry with me. I’m not sure why. Do you know why? I know you two socialize frequently.” Eugene paused. “I don’t think Nicholas is angry with you.” “No, he is,” said Seiji. “He told me to go away.” “He probably just meant that you could go practice in the salle if you’re hating the midnight feast, dude,” said Eugene. “Your face went all grumpy cat when we broke out the marshmallows.” Seiji opened his mouth to protest that Nicholas never cared when Seiji made faces, and never told him to go away, but Eugene continued. “I think there’s something else going on.” Seiji gave Eugene his full attention. “What?” Eugene turned his protein shake in his hands for another moment. “We went to town Saturday, and some Kings Row guys there were awful to him. It’s been bothering me all weekend, actually. They acted like they were so far above Nicholas. They made it seem like he was going to shoplift! Which he wasn’t!” Eugene added hastily, as though Seiji might imagine Nicholas would. The burner’s blue flame hissed. Harvard was talking about how delicious the pasta sauce smelled. Their captain was very good at making conversation. Seiji frowned. “Why would people from our school represent Nicholas as a common thief?” “Right? It sucks!” said Eugene. “You might know them? They were the first two guys to wash out of fencing tryouts. They think they’re so much better than Nicholas.” “They think they’re better than Nicholas?” Seiji asked sharply. “But they can’t fence at all!”