"The letter said that they were two feet high, and green, and shaped like plumber's friends. Their suction cups were on the ground, and their shafts, which were extremely flexible, usually pointed to the sky. At the top of each shaft was a little hand with a green eye in its palm. The creatures were friendly, and they could see in four dimensions. They pitied Earthlings for being able to see only three. They had many wonderful things to teach Earthlings, especially about time. Billy promised to tell what some of those wonderful things were in his next letter.
Billy was working on his second letter when the first letter was published. The second letter started out like this:
The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in a bad condition in that particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is "so it goes.

However, since they were completely ignorant of the laws of the place, they were caught in a whirlpool. Condemned to turn round and round in slow circles, they could still bombard the coast, but all their shells came back at them like boomerangs. It was a ludicrous fate.

The handful of Germans who had reached the trench had been sacrificed for the stupid sort of fun called. Strategy, probably. Stupid! . . . It was, of course, just like German spools to go mining by candle-light. Obsoletely Nibenlungen-like. Dwarfs probably!

How Iraq Reverse-Engineered the Bomb,” by Glenn Zorpette.

Billy Pilgrim wasn't weak, she decided, as he drifted back to sleep — he was broken. The whole system was broken. Sending young men to war, expecting them to come back whole, their bullets to make things right. Expecting a girl from the Big Sky State to step off a bus in LA and have a career that wouldn't kill her. The machinery of it all was set up unfair from the start. Living in three dimensions meant you learned what you needed to know too late in life.

In this story of the outside world and the inside world with a fire between, the outside world of little screwups recedes now for a few hours to be taken over by the inside world of blowups, this time by a colossal blowup but shaped by little screwups that fitted together tighter and tighter until all became one and the same thing — the fateful blowup.

...film and calculus, both pornographies of flight.

Working Together

Composed by David Whyte as a dedication to the 777 at the request of Boeing corporation. Whyte wanted to be sure not to write a corporate propaganda piece and hence he drew upon his own fear of flying to write something very meaningful. The idea of travelling 550 miles per hour at 33,000 feet with no visible means of support can be scary. However, we today know that the plane gets its support from the interaction between velocity and the wing shape. Velocity and the aerodynamic shape have existed in nature since time immemorial, but humans only discovered the power of bringing them together only about 140 years. That discovery has allowed us to travel all over the world today. Using this as a metaphor, he wrote about many hidden qualities in ourselves that we may need to bring together to achieve more than we can imagine.

We shape our self
to fit this world
and by the world
are shaped again.

The visible
and the invisible
working together
in common cause,
to produce
the miraculous.

I am thinking of the way
the intangible air
traveled at speed
round a shaped wing
easily
holds our weight.

So may we, in this life
trust
to those elements
we have yet to see
or imagine,
and look for the true
shape of our own self,
by forming it well
to the great
intangibles about us.

I look at him with the nostalgic affection men are said to feel for their wars, their fellow veterans. I think, I once threw things at this man. I threw a glass ashtray, a fairly cheap one which didn't break. I threw a shoe (his) and a handbag (mine), not even snapping the handbag shut first, so that he was showered with a metal rain of keys and small change. The worst thing I threw was a small portable television set, standing on the bed and heaving it at him with the aid of the bouncy springs, although the instant I let fly I thought, Oh God, let him duck! I once thought I was capable of murdering him. Today I feel only a mild regret that we were not more civilized with each other at the time. Still, it was amazing, all those explosions, that recklessness, that Technicolor wreckage. Amazing and agonizing and almost lethal.

Armorers wheeled bombs out to the Tu-4 on carts made of steel tubing with rubber tires. Watching them, Boris Gribkov remembered that the groundcrew men at airstrips during the Great Patriotic War hadn’t had such elegant transportation for their high explosives and incendiaries. They’d used whatever they could, sometimes panje wagons, sometimes raw muscle, to get bombs to the bombers. Anton Presnyakov was thinking along with him. “I’ve seen pictures of carts like that at American airstrips in England,” the copilot said. “Now that you mention it, so have I,” Boris replied. “Well, if we can borrow the design for the bomber, no reason we can’t borrow the design for the cart that feeds it, eh?” “We didn’t borrow. We invented,” Lev Vaksman said. “Comrade Reguspatoff is a very clever fellow.” “Reguspatoff?” Boris echoed, puzzled. It sounded as if it ought to be a Russian name, but it wasn’t one he’d ever heard before. “Of course.” The flight engineer’s eyes twinkled. “It’s the abbreviation the Americans put on things they make. It stands for Registered — U.S. Patent Office.

it came to me then, I am sure, for the first time, how promiscuous, how higgledy-piggledy was the whole of that jumble of mines and homes, collieries and potbanks, railway yards, canals, schools, forges and blast furnaces, churches, chapels, allotment hovels, a vast irregular agglomeration of ugly smoking accidents in which men lived as happy as frogs in a dustbin. Each thing jostled and damaged the other things about it, each thing ignored the other things about it; the smoke of the furnace defiled the potbank clay, the clatter of the railway deafened the worshipers in church, the public-house thrust corruption at the school doors, the dismal homes squeezed miserably amidst the monstrosities of industrialism, with an effect of groping imbecility. Humanity choked amidst its products, and all its energy went in increasing its disorder, like a blind stricken thing that struggles and sinks in a morass.

During World War II a friend of mine used to fly Chinese laborers over the Hump to work on the South end of the Burma Road. The long flight was, of course, ideal for gambling, but since there was not enough cash between them to make the game interesting, the stakes were that the final loser should jump off the plane. No parachute.

If three hundred years of chainsaws, CFCs, depleted uranium, automobiles, genetic engineering, airplanes, routine international trade, computers, plastics, endocrine disruptors, pesticides, vivisection, internal combustion engines, feller bunchers, dragline excavators, televisions, cell phones, and nuclear (and conventional) bombs are not enough to convey the picture, then that picture will never be conveyed.

Its tall chimneys throw up black smoke, impregnating everything with soot, and the miners' faces as they traveled the streets were also imbued with that ancient melancholy of smoke, unifying everything with its grayish monotones, a perfect coupling with the gray mountain days.