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Remember The Dream You have a choice Your heart will know You gotta look back sometime To know where to go You have a voice Long as you live It's never too small Whatever you got to give When your life is low (hold on) And you want to let go (be strong - hold on) Remember the dream we had When there was nothing else Remember the light that shines And find it in yourself Remember the dream is yours So let it guide your way And keep it alive with you each day Don't ever say You just don't care the chances you take Will take you as far as you dar Don't be afraid Hold your head high There's strength in your soul You never know till you try When your life is low (hold on) And you want to let go (be strong -- hold on) You're not alone .. somebody cares (Hold on ...be strong) When you're walkin' the road With those who been there (You're not alone) Remember the dream is yours So let it guide your way And keep it alive with you each day. ↗
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. ↗
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. ↗
Mom spent the time that she was supposed to be a kid actully raising children, her younger brother and younger sister. She was tough as nails and did not suffer fools at all. And the truth was she could not afford to. She spoke the truth, bluntly, directly, and without much varnish. I am her son. ↗
