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A garden path,' write the landscape architects Charles W. Moore, William J. Mitchell, and William Turnbull, 'can become the thread of a plot, connecting moments and incidents into a narrative. The narrative structure might be a simple chain of events with a beginning, middle, and end. It might be embellished with diversions, digressions, and picaresque twists, be accompanied by parallel ways (subplots), or deceptively fork into blind alleys like the althernative scenerios explored in a detective novel. ↗
He'd been given an assignment to write about teen beauty pageants [...], which he'd accepted because he enjoyed blood sports as much as the next person. ↗
I didn’t mean to go after him, but no one was doing anything, and I’m probably the only one here who’s actually been in the woods for real.” “Besides—he’s British. What do they know about camping and wilderness survival and all that?”... There too busy drinking tea and playing cricket. He would have been lost without me ↗
So the price of careless rapture is a twisted history chronicled by envy. You were too busy being. And you are too busy now. You couldn't spare the time to note down a few facts: how the sun and silence poured into the big room with the yellow curtains; how everything was never-ending and expendable. ↗
