First, I had no idea you were married. Somehow, I don't think Trillian knows, either." "I married Smoky and Morio to forge a soul bond so I could use their powers to search for Trillian, since we thought he was captured and in danger." She stopped, blanching. "You mean I got married for no reason?" Smoky cleared his throat. "I think we've just been insulted," he said. Morio sniggered. "Sounds like it.
Sad; so sad, those smoky-rose, smoky-mauve evenings of late autumn, sad enough to pierce the heart. The sun departs the sky in winding sheets of gaudy cloud; anguish enters the city, a sense of the bitterest regret, a nostalgia for things we never knew, anguish of the turn of the year, the time of impotent yearning, the inconsolable season.
This happened back east of course. I've heard that term a lot since coming to this part of the country. But I never think of the term as a marker of geography. It's a reference to time, a statement about time, about all the densities of being and experience, it's time disguised, it's light-up time, shifting smoky time tricked out as some locus of stable arrangement. When people use that term they're talking about the way things used to be before they moved out here, the way the world used to be, not just New Jersey or South Philly, or before their parents moved, or grandparents, and about the way things still exist in some private relativity theory, some smoky shifting mind dimension, or before the other men and women came this way, the ones in Conestoga wagons, a term we learned in grade school, a back-east term, stemming from the place where the wagons were made. (pg.333)
He wants to use my body, to take advantage, and I want to let him. I want to be someone's one night stand, some blithe slut... I want to allow myself to be like all those women I pretended to look down upon all my life, but whom I secretly envied for having the guts to have their legs spread by strange men in smoky bars.
I say it is impossible that so sensible a people [citizens of Paris], under such circumstances, should have lived so long by the smoky, unwholesome, and enormously expensive light of candles, if they had really known that they might have had as much pure light of the sun for nothing.
What do you think?" he asked, his voice deep and commanding. I eyed him. "Impressive, but too much." He leaned toward me, the blue eyes smoky with a promise I was shure he could fulfill. I tried not to think of the bedroom. "Too much?" "Yes. I like the menace. It's very masculine, but he looks like he would screw everything in sight and call me 'wench
He found that he had this sudden desperate longing for the fuming, smoky streets of Ankh-Morpork, which was always at its best in the spring, when the gummy sheen on the turbid waters of the Ankh River had a special iridescence and the eaves were full of birdsong, or at least birds coughing rhythmically
When you do something, you should do it with your whole body and mind; you should be concentrated on what you do. You should do it completely, like a good bonfire. You should not be a smoky fire. You should burn yourself completely. If you do not burn yourself completely, a trace of yourself will be left in what you do.
You should not have any remains after you do something. But this does not mean to forget all about it. In order not to leave any traces, when you do something, you should do it with your whole body and mind; you should be concentrated on what you do. You should do it completely, like a good bonfire. You should not be a smoky fire. You should burn yourself completely. If you do not burn yourself completely, a trace of yourself will be left in what you do.
Trains are great dirty smoky things, " said Will. "You won't like it." Tessa was unmoved. "I won't know if I like it until I try it, will I?" "I've never swum naked in the Thames before, but I know I wouldn't like it." "But think how entertaining for sightseers, " said Tessa, and she saw Jem duck his head to hide the quick flash of his grin.
The sovereign quality of wilderness is the same wherever encountered.... Each manifestation has an unshackled quality-each stirs untapped longings-each gives a fillip to living-each has an unsurpassed lilt which bursts from the deepest wellsprings of life. These are the realities found in the wilderness of the Great Smoky Mountains.
If you're wondering what's wrong with Fenway Park in the first place, you're not the only one. Fenway is special precisely because it has what modern stadiums lack: seats that, while often cramped, offer the best views in baseball; and the sense that, if you squint, that could be Smoky Joe Wood pitching to Ty Cobb out there instead of Jeff Fassero and Bobby Higginson.
- Webmaster Neil deMause
His heart pounding with fear and elation, and his head humming with the fierce certainty of a sure thing, he kissed her. She responded as though for her too a certainty had proved out, and in the midst of her hair and lips and long arms encircling him, Smoky added a treasure of great price to the small store of his wisdom.
I know that when a supersexy older girl with hips and breasts and nice hair wants to take off your glasses and to paint you a smoky eye she's merely trying to enroll you in a beauty contest she's already won. It's a kind of slummy, condescending gesture, like when rich people ask poor people where they summer. To me, this smacks of a blatant, insensitive "let them eat cake" type of chauvinism.
But with what wonder has the season come? Its treasure lies in earthen ships, that carry dreams across the foam. And how your memory of Sarah rapes the fleshly heart that once bore scenes, now veiled in smoky stains of tears; it cries as on its crutches leans, and ever fills itself with fears. Be born anew to taste the sky Lay waste cocoon and upwind fly.
I wasn't used to living crowded cheek by jowl with numbers of other people, as was customary here. People ate, slept, and frequently copulated, crammed into tiny, stifling cottages, lit and warmed by smoky peat fires. The only thing they didn't do together was bathe - largely because they didn't bathe.
And when the firemen turned off the hose and were standing in the wet, smoky room, Jim's Aunt, Miss. Prothero, came downstairs and peered in at them. Jim and I waited, very quietly, to hear what she would say to them. She said the right thing, always. She looked at the three tall firemen in their shining helmets, standing among the smoke and cinders and dissolving snowballs, and she said, "Would you like anything to read?
Vee is my un-twin. She's green-eyed, milky blond, and a few pounds over curvy. I'm a smoky-eyed brunette with volumes of curly hair that holds its own against even the best flatiron. And I'm all legs, like a bar stool. But there is an invisible thread the ties us together; both of us swear that tie began long before birth. Both of us swear it will continue to hold for the rest of our lives.
Daniel first kisses his brother in a town where no-one knows them, a no-account place that's barely even a town, just some buildings clustered around the highway: a smoky bar, an empty motel, a convenience store that only sells candy and condoms and beer. The nearest gas station is twenty miles away. The nearest bus station is fifty.
There were five others before they got to him. He smiled a little when his turn came. His voice was low, smoky, and dead sexy. "My name is Augustus Waters," he said. "I'm seventeen. I had a little touch of osteosarcoma a year and a half ago, but I'm just here today at Isaac's request." "And how are you feeling?" asked Patrick. "Oh, I'm grand." Augustus Waters smiled with a corner of his mouth. "I'm on a roller coaster that only goes up, my friend.
The winter evening settles down With smell of steaks in passageways. Six o'clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots; The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. And then the lighting of the lamps.
T. S. Eliot
Alone in her shelter, she allowed herself tears. When her shelter cooled to the touch she called to Gull, "Coming out!" She eased her head out into the smoky air, looked over at Gull. She imaged they both looked like a couple of sweaty, parboiled turtles climbing out of their shells. "Hello, gorgeous." She laughed. It hurt her throat, but she laughed. "Hey, handsome.
Alone in her shelter, she allowed herself tears. When her shelter cooled to the touch she called to Gull, 'Coming out!' She eased her head out into the smoky air, looked over at Gull. She imaged they both looked like a couple of sweaty, parboiled turtles climbing out of their shells. 'Hello, gorgeous.' She laughed. It hurt her throat, but she laughed. 'Hey, handsome.
The children are our future. And that is why, ultimately, we're screwed unless we do something about it. If you haven't noticed, the children who are our future are good-looking, but they aren't all that bright. As dense as they might be, they will eventually notice that adults have spent all the money, spread disease, and turned the planet into a smoky, filthy ball of death. We're raising an entire generation of dumb, pissed-off kids who know where the handguns are kept. This is not a good recipe for a happy future.
Then her eyes narrowed. The sun was spilling in the window behind her and Dageus's eyes were golden, dappled with darker flecks. Smoky and sensual, fringed by thick dark lashes, but gold nonetheless. "What is with your eyes?" she exclaimed. "Is it part of being a Druid?" "What color are they?" he asked warily. "Gold." He flashed her another unguarded smile. It was like basking in the sun, she thought, tracing her fingers over his beard-shadowed jaw, smiling helplessly back.
Karen Marie Moning
Rome was mud and smoky skies; the rank smell of the Tiber and the exotically spiced cooking fires of a hundred different nationalities. Rome was white marble and gilding and heady perfumes; the blare of trumpets and the shrieking of market-women and the eternal, sub-aural hum of more people, speaking more languages than Gaius had ever imagined existed, crammed together on seven hills whose contours had long ago disappeared beneath this encrustation if humanity. Rome was the pulsing heart of the world.
Marion Zimmer Bradley
The pale, cold light of the winter sunset did not beautify - it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said" "This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth." It was as if we were being punished for loving the loveliness of summer.
Quality is better seen up at the timberline than here obscured by smoky windows and oceans of words, and he sees that what he is talking about can never really be accepted here because to see it one has to be free of social authority and this is an institution of social authority. Quality for sheep is what the shepherd says. And if you take a sheep and put it up at the timberline at night when the wind is roaring, that sheep will be panicked half to death and will call and call until the shepherd comes, or comes the wolf.
Robert M. Pirsig
Because she did not look behind, September did not see the smoky-glass casket close itself primly up again. She did not see it bend in half until it cracked, and Death hop up again, quite well, quite awake, and quite small once more. She certainly did not see Death stand on her tiptoes and blow a kiss after her, a kiss that rushed through all the frosted leaves of the autumnal forest, but could not quite catch a child running as fast as she could. As all mothers know, children travel faster than kisses. The speed of kisses is, in fact, what Doctor Fallow would call a cosmic constant. The speed of children has no limits.
Catherynne M. Valente
Obsession. It starts with a spark. A flicker. At the strike of a match. Lying dormant in most of us, obsession feasts on the fumes, breathes in the smoky scent, curing around and in on itself. Building. We pet it, nurse it into existence. It is ours. All ours. A coveted perfection. And when it refuses to be ignored, it rages. It roars to life. A building inferno. Consuming. We are but pawns to its deceptive power. Though we attempt to guide it, caress it tenderly into a loving beauty, it can not be controlled. It's a haunted, vengeful lover. Like a wildfire devouring life within it's path, we can only follow it's carnal trail.
The thing about old friends is not that they love you, but that they know you. They remember that disastrous New Year's Eve when you mixed White Russians and champagne, and how you wore that red maternity dress until everyone was sick of seeing the blaze of it in the office, and the uncomfortable couch in your first apartment and the smoky stove in your beach rental. They look at you and don't really think you look older because they've grown old along with you, and, like the faded paint in a beloved room, they're used to the look. And then one of them is gone, and you've lost a chunk of yourself. The stories of the terrorist attacks of 2001, the tsunami, the Japanese earthquake always used numbers, the deaths of thousands a measure of how great the disaster. Catastrophe is numerical. Loss is singular, one beloved at a time.
It had all begun on the elevated. There was a particular little sea of roots he had grown into the habit of glancing at just as the packed car carrying him homeward lurched around a turn. A dingy, melancholy little world of tar paper, tarred gravel, and smoky brick. Rusty tin chimneys with odd conical hats suggested abandoned listening posts. There was a washed-out advertisement of some ancient patent medicine on the nearest wall. Superficially it was like ten thousand other drab city roofs. But he always saw it around dusk, either in the normal, smoky half-light, or tinged with red by the flat rays of a dirty sunset, or covered by ghostly windblown white sheets of rain-splash, or patched with blackish snow; and it seemed unusually bleak and suggestive, almost beautifully ugly, though in no sense picturesque; dreary but meaningful. Unconsciously it came to symbolize for Catesby Wran certain disagreeable aspects of the frustrated, frightened century in which he lived, the jangled century of hate and heavy industry and Fascist wars. The quick, daily glance into the half darkness became an integral part of his life. Oddly, he never saw it in the morning, for it was then his habit to sit on the other side of the car, his head buried in the paper. One evening toward winter he noticed what seemed to be a shapeless black sack lying on the third roof from the tracks. He did not think about it. It merely registered as an addition to the well-known scene and his memory stored away the impression for further reference. Next evening, however, he decided he had been mistaken in one detail. The object was a roof nearer than he had thought. Its color and texture, and the grimy stains around it, suggested that it was filled with coal dust, which was hardly reasonable. Then, too, the following evening it seemed to have been blown against a rusty ventilator by the wind, which could hardly have happened if it were at all heavy. ("Smoke Ghost")
Then Night came down like the feathery soot of a smoky lamp, and smutted first the bedquilt, then the hearth-rug, then the window-seat, and then at last the great, stormy, faraway outside world. But sleep did not come. Oh, no! Nothing new came at all except that particularly wretched, itching type of insomnia which seems to rip away from one's body the whole kind, protecting skin and expose all the raw, ticklish fretwork of nerves to the mercy of a gritty blanket or a wrinkled sheet. Pain came too, in its most brutally high night-tide; and sweat, like the smother of furs in summer; and thirst like the scrape of hot sand-paper; and chill like the clammy horror of raw fish.
Eleanor Hallowell Abbott
The builder has ginger curly hair on top of his head, and a thick moustache. He has the look of a McDonald's manager from 1970 who spends his evenings sitting in the smoky back row of theatres in Soho. He's tall and muscular with hands the size of shopping baskets and, on the one occasion I did briefly meet him, I stared into his eyes and was shocked by their darkness. His nose is broken in three places and is the size and shape of a chicken nugget. A deep scar runs the length of his cheek hinting at a violent past. Old tattoos fade on his arms. The builder may have killed another human being at some point in his life.
I felt that the magical people must be in the hidden back roads and dusty cubby holes of life; on highways, in hostels, and in shabby, smoky cafes. These enchanting people are in trees, around fires and under hand-knit hats and street lamps reflecting gold on rain soaked pavement. They dance while others dangle; they vibrantly sing the songs that get jumbled and stuck in the subconscious of others who only wish to catch tune. They are the rare ones whose uncommon experiences touch your heart through just a wink of their eye, the stories stitched in the holes of their shoes, invoking a longing for the unknown, taking others to a place of missing what they've never even had - they do not settle, they do not compromise.
What do we have here?' Grant slurs at me. He seems different and it raises flags in my mind. His fingers wrap around a section of my hair and it scares me. His face is flushed red and his eyes are glassy and bright. I can smell the smoky scent of whiskey or scotch rolling off his tongue as he speaks and breathes heavily. 'I'm lost and I need a ride home.' My voice wavers as I speak and I hate it. I fist my hands in the hem of my blazer. 'I'll get Albert for you, but first spend some time with me, ' he slurs again, sounding like his tongue is too large for his mouth. As if sensing my attention, the tip of his tongue sneaks out and slides along his supple bottom lip. He smiles as he tastes the alcohol that's staining his mouth. His eyes are bright and shiny and glazed over. He has a smirk on his face that shows off his dimple. It no longer reminds me of Whitt. It seems sinister and dangerous- promising something I'm not ready to experience. The feel of his fingers playing with my hair gives me goosebumps and I shiver as my scalp tightens, sucking up the pleasant attention. I do my first stupid-girl moment of my life. I shameless crush on a guy and let it turn my thoughts to mush. 'Okay, if you promise to call Albert first.' I try to negotiate with him and he gives me a naughty smirk for agreeing. He backs me up with his physical presence. His front touches mine- chest-to-chest. His lips part and breathes the smoky, whiskey scent onto my chin. My back hits the door behind me with an audible thump. He reaches around me and I don't wince. I anticipate him touching me and crave it. Instead, his hand twists the doorknob by my hip and I fall backwards. I'm pushed into a dark room until my legs connect with the edge of a bed. I can't see anything, and the only sound is our combined breathing. I feel alive with caution. I'm aware of every hair, every nerve on my flesh. My senses are so in-tuned that I can feel my system pumping the blood through my veins nourishing my whole body.
Real arms races are run by highly intelligent, bespectacled engineers in glass offices thoughtfully designing shiny weapons on modern computers. But there's no thinking in the mud and cold of nature's trenches. At best, weapons thrown together amidst the explosions and confusion of smoky battlefields are tiny variations on old ones, held together by chewing gum. If they don't work, then something else is thrown at the enemy, including the kitchen sink - there's nothing "progressive" about that. At its usual worst, trench warfare is fought by attrition. If the enemy can be stopped or slowed by burning your own bridges and bombing your own radio towers and oil refineries, then away they go. Darwinian trench warfare does not lead to progress - it leads back to the Stone Age.
Michael J. Behe
The flowers must have been the latest generation of perennials, whose ancestors were first planted by a woman who lived in the ruins when the ruins were a raw, unpainted house inhabited by herself and a smoky, serious husband and perhaps a pair or silent, serious daughters, and the flowers were an act of resistance against the raw, bare lot with its raw house sticking up from the raw earth like an act of sheer, inevitable, necessary madness because human beings have to live somewhere and in something and here is just as outrageous as there because in either place (in any place) it seems like an interruption, an intrusion on something that, no matter how many times she read in her Bible, Let them have dominion, seemed marred, dispelled, vanquished once people arrived with their catastrophic voices and saws and plows and began to sing and hammer and carve and erect. So the flowers were maybe a balm or, if not a balm, some sort of gesture signifying the balm she would apply were it in her power to offer redress.
Aegean Islands 1940-41 Where white stares, smokes or breaks, Thread white, white of plaster and of foam, Where sea like a wall falls; Ribbed, lionish coast, The stony islands which blow into my mind More often than I imagine my grassy home; To sun one's bones beside the Explosive, crushed-blue, nostril-opening sea (The weaving sea, splintered with sails and foam, Familiar of famous and deserted harbours, Of coins with dolphins on and fallen pillars.) To know the gear and skill of sailing, The drenching race for home and the sail-white houses, Stories of Turks and smoky ikons, Cry of the bagpipe, treading Of the peasant dancers; The dark bread The island wine and the sweet dishes; All these were elements in a happiness More distant now than any date like '40, A. D. or B. C., ever can express.
November-with uncanny witchery in its changed trees. With murky red sunsets flaming in smoky crimson behind the westering hills. With dear days when the austere woods were beautiful and gracious in a dignified serenity of folded hands and closed eyes-days full of a fine, pale sunshine that sifted through the late, leafless gold of the juniper-trees and glimmered among the grey beeches, lighting up evergreen banks of moss and washing the colonnades of the pines. Days with a high-sprung sky of flawless turquoise. Days when an exquisite melancholy seemed to hang over the landscape and dream about the lake. But days, too, of the wild blackness of great autumn storms, followed by dank, wet, streaming nights when there was witch-laughter in the pines and fitful moans among the mainland trees. What cared they? Old Tom had built his roof well, and his chimney drew.
On the flat expanse of pancake ice, War stood by the Pale Rider's side. Though their forms did not touch, their shadows intertwined, black on black, in a smoky caress. 'Knew you'd come, ' Death said cheerfully. She smiled, and that slow motion of her lips hinted at many things. 'The White Rider divided, and the world on the brink of destruction. How could I stay away?' 'I could set my watch by you.' 'You don't have a watch.' Her smile broadened into a grin. 'An hourglass, maybe... ' 'Please, not another joke about a scythe... ' She mimed zipping her mouth shut. A pause, as they listened to the sounds of the boy healing and the man summoning doom. 'I like him, ' War said. Even though she hadn't specified whether she meant the boy or the man, Death smiled and nodded. 'Me too.' 'You like everyone.' 'Well, yes.' The two shared a quiet laugh, their voices mingling in perfect harmony. A longer pause, and then War asked, 'What of Famine?' 'What of her? She's not mine. Not yet, anyway. She will be soon enough.' The Red Rider slid him a look. 'That's cold, even for you.' 'Eh, just practical.' A shrug. 'Everyone comes to me eventually. It's the journey that makes it interesting.' 'Such a people person!' He flashed her a grin. 'My best quality.' 'Oh, ' said War, sliding her gloved hand into his pale one, 'I can think of others that are better.
Jackie Morse Kessler
Ivar grabbed hold of my shoulders, swung me into a strung-up fishing net, and then smashed me into a set of shelves. Clutter rained down on me, and I fought my way to the surface, clawing free of the net. Ivar's fingers curled around my shirt and lifted me until I was eye level with her. "I'm going to enjoy killing you, " she sneered. "And when you come back, I'll enjoy killing you again. If the Enshi doesn't eat your soul, I'll gladly eat your heart." Instead of replying, I stabbed her in the gut with a Khopesh. Her eyes bulged and she dropped me. I pulled the flaming sword out and slashed, but she caught my wrist before my blade could catch her skin, and she hissed, pulling her lips back viciously. "Wrong move." Her flesh healed shut with only an ugly marbled scar left behind. She lashed her black power at me, striking me across the chest like a whip, and I staggered back. I shook off the blow and saw her lunge for me through the smoky remains of her attack. My own power detonated in a deafening explosion of white and collided with her. It blew her through the cabin, and she crashed through the wall and flew back out on the other side of the deck in a storm of fiberglass and steel.
Courtney Allison Moulton
From p. 40 of Signet Edition of Thomas Wolfe's _You Can't Go Home Again_ (1940): Some things will never change. Some things will always be the same. Lean down your ear upon the earth and listen. The voice of forest water in the night, a woman's laughter in the dark, the clean, hard rattle of raked gravel, the cricketing stitch of midday in hot meadows, the delicate web of children's voices in bright air-these things will never change. The glitter of sunlight on roughened water, the glory of the stars, the innocence of morning, the smell of the sea in harbors, the feathery blur and smoky buddings of young boughs, and something there that comes and goes and never can be captured, the thorn of spring, the sharp and tongueless cry-these things will always be the same. All things belonging to the earth will never change-the leaf, the blade, the flower, the wind that cries and sleeps and wakes again, the trees whose stiff arms clash and tremble in the dark, and the dust of lovers long since buried in the earth-all things proceeding from the earth to seasons, all things that lapse and change and come again upon the earth-these things will always be the same, for they come up from the earth that never changes, they go back into the earth that lasts forever. Only the earth endures, but it endures forever. The tarantula, the adder, and the asp will also never change. Pain and death will always be the same. But under the pavements trembling like a pulse, under the buildings trembling like a cry, under the waste of time, under the hoof of the beast above the broken bones of cities, there will be something growing like a flower, something bursting from the earth again, forever deathless, faithful, coming into life again like April.
Faded icon of the gilded halo, Once illuminating, inspiring; Admirers, enemies, lovers, family, A distant memory trodden under foot. Evanescent existence; flickering fame, A quintessence of reflections Incidentally etched on ancient relics. Can we conjure your presence? We barely remember Joseph Warren as the person who dispatched Paul Revere on his famous ride, and as the hero of the Battle of Bunker Hill, where he was killed in action. It wasn't always that way. For almost a century Warren was one of the most important and remembered founders of the fledgling American nation. John Trumbull's painting 'Death of General Warren at the Battle of Bunker's Hill, ' a renowned icon of American history, dates from that period. In it scarlet uniformed British soldiers, heavily armed and personally led by their officers, have just overwhelmed American entrenchments atop Breed's Hill, within sight across the Mystic River of Boston. In the background loom the eponymous Bunker Hill and the village of Charlestown, its houses and churches aflame, a smoky cloud framing the battlefield. The Americans, a motley amalgam of raw militia, countrymen and workers, try unsuccessfully to fend off the onslaught. New England's Pine Tree flag still stands within the American dirt fort in the unseasonably hot and breezeless early summer afternoon. The red coated attackers, brandishing the colors of the United Kingdom, will take it down in a moment. It is June 17, 1775: The defenders of an embryonic American Liberty are about to be defeated in a British Pyrrhic victory. In the forefront, Colonel William Prescott commands the Americans while rotund General Israel Putnam vainly shouts orders in the background. British Generals Burgoyne and Clinton command the British attackers as Major John Pitcairn, leader of the marines falters, mortally wounded, yet still supported by a soldier. British and Americans have fallen indiscriminately on the field among the detritus of battle. In the foreground, a finely dressed figure lies prostrate, his sword dropped to the earth. Prescott wards off a bayonet thrust by an onrushing British infantryman. It is a thrust the enemy's own superior officer, Colonel Small, curiously appears to want deflected. But the targeted figure already lies supine, looking skyward in a saintly blank stare. He is suspended momentarily in a halo of tranquility amongst the mayhem. This dying man can no longer smell the acrid, dense black powder smoke that hangs low in the windless oppressive heat, obscuring the afternoon sun. He pays no heed to the shouts of men nor the eerie lull in the previously deafening gunfire. The animation, his admonishments of others to action, the thrill and fear of battle, all suddenly calm. A single bullet annihilates in an instant inspiring words, the force of personality, the martial spirit in action, the reality and complexity of a human being. Dr. Joseph Warren, the central figure, moves from life to legend. Trumbull's iconic painting raises unanswered questions about its subject. How did a physician come to assume such a responsible role in this engagement? How did he meet his fate within sight of his home town? Why was he famous throughout the young United States as a model for involved citizenship? Was there any truth to the cynicism of his political enemies? Most compelling of all-why has this once beloved leader been so long and unjustifiably forgotten? This biography of Joseph Warren answers these and other questions. It utilizes modern analytical methods, uncovers new material, and sheds new light on 'established' facts... Please join me in getting to know Joseph Warren, accompanying him on his lifetime's journey to Bunker Hill, and considering the fate of his reputation and memory long after his heroic demise.