2,472 Matching Annotations
  1. Apr 2022
    1. your captured toolkit, I hope you can see through this that it's not one kind of tool

      "capture" toolkit - it's not going to be one tool but a toolbox that allows for the distillation of relevant thoughts

    2. Resonance is an internal feeling of being moved or enlivened or excited by, by an idea you encounter. It's your intuition speaking, telling you that there is something special about what you're seeing.

      SL about resonance.

    3. it something that could inspire you in the future?

      1) does it inspire you? 2) is it useful? 3) is it surprising? 4) is it personal?

      ^criteria for deciding about capture

    4. I recommend a different metaphor for our relationship to information, fishing nets. Instead of waiting until the moment you need to know something and going out and hunting down an answer, you just place your nets into the information stream and you wait for the fish to arrive.

      This would be a revolutionary approach to teaching research.

    5. What do you think of it? What are the implications? What does it mean? And third, it's difficult to find the best sources of information through on-demand searching. Google has become a giant game of search engine optimization. It doesn't usually show you the best content.

      This is the third reason (connected to the above two)

    6. First, you can't find something you don't know to look for. You can really only search for something you already know that you need, or that you want. Often you don't even know the right question ask. You don't even know oftentimes what you don't know. Second, you can't edit or annotate what you find. You can't add so much as an underline or highlight until you bring that content into an environment that you control. You can't add your own perspective, your own lens.

      Three reasons why Google doesn't work - applicable to students.

  2. Jan 2022
    1. It is about making individual notes the most prominent actors, like discrete atoms that can be assembled into any form.Design is always about balancing priorities — in this case: comprehensiveness and compression.

      Two guiding principles for "ideal" notes.

    2. If we consider these periods of intense, focused work as our primary asset as knowledge workers, and think about how precious few hours of quality attention we have to spend each week, and how few weeks and years we have on this planet to make something that matters, it is unforgivable that we make no effort to build a knowledge base that appreciates over time. Each day we start again from scratch, trading something invaluable for something merely valuable.

      Ugh. Hurts.

    3. Soft systems are ideal for“Systems involving people holding multiple and conflicting frames of reference.And for“…understanding motivations, viewpoints, and interactions.”

      Interesting: "hard" vs. "soft" systems.

    4. We know from neuroscience research that “emotions organize — rather than disrupt — rational thinking.” Often, when something “resonates” with us, it is our intuitive/right brain/System 1 mind telling us something is valuable before our analytical/left brain/System 2 mind even knows what’s going on.

      "Resonance" is important in associative thinking. It's step 1.

    5. “We need to spend more time engaged in deep work — cognitively demanding activities that leverage our training to generate rare and valuable results.”

      "rare and valuable results"

    6. A big part of the problem is that, as Cal Newport says, “knowledge workers dedicate too much time to shallow work — tasks that almost anyone, with a minimum of training, could accomplish.”

      So much of what we do could be automated.

    7. We don’t know what we know, because this information, which we’ve spent precious time and attention to absorb, remains disconnected, fragmented, and scattered. The seeds of insight hide in mysteriously titled folders and documents, opaque black boxes floating in the cloud.

      Knowledge management problems.

    8. “You have to keep a dozen of your favorite problems constantly present in your mind, although by and large they will lay in a dormant state. Every time you hear or read a new trick or a new result, test it against each of your twelve problems to see whether it helps. Every once in a while there will be a hit, and people will say, “How did he do it? He must be a genius!”

      This is the concept of "Slow burn" (also referenced in "How to Take Smart Notes")

    9. By externalizing your ideas in a variety of formats — text, sketches, photos, videos, documents, diagrams, webclips, hyperlinks — you create a system of distributed cognition across “artifacts” that can be moved, edited, rearranged, and combined.

      This connects to findings presented in "The Extended Mind." - follow up on "Learning to Think Spatially"

    1. In general, you should try to write the note with enough clarity so that a stranger could read it and understand it.

      This connects to writing ideas to your "Future self"

    2. I let myself go up to 500 words per note

      Helpful - what is the ideal word count?

    3. There is an atomic nature to notes in the Zettelkasten. Each note should contain just a single idea.

      This is a standard practice or "golden rule" of ZK.

    1. There shouldn’t be anything in your project’s section unless you are actively working on it. Even the other sections are also meant to be pruned on a regular basis so that they only represent your primary interests. A good rule of thumb: if any folder gains more notes than you can easily skim (~50-100 notes), it might be time to split that folder into two or maybe even delete some notes.

      2 tips: only have projects you're ACTIVELY working in project folder once you get over 100 notes, split the folder

    2. Not making your second brain cognitively overwhelming is an under-emphasized part of the PARA system.

      This is important - try not to contribute to overwhelm.

    3. Things related to projects you’re actively working on. Don’t store triviaStore things that surprise you: Don’t store stuff you already knowA 12 select problems that you love to think about

      Three things you should store 1) anything related to an active project 2) things that surprise you (not things you already know 3) 12 select problems you love thinking about

    4. Progressive Summarization

      Key concept - don't try to summarize while learning; pull the passages you found most interesting and copy them into your notes. Pull the quotes that really spoke to you, and attempt to put those into your own words.

    5. Now you’ve reset the notes to be discoverable the next time you need them.

      1) Pull out notes when you need them by project (i.e. a writing assignment) 2) When you start a new project, pull notes again. 3) When you finish a project, archive the project folder.

    6. With P.A.R.A. you organize all your notes by purpose, not by category.

      Purpose-driven categorization vs. idea-cluster. Would this defeat the free-wheeling association of ZK?

    7. Next I came across the Zettelkasten note taking method. Its core idea is to create atomic notes, where each note is about exactly one topic (not more than a few paragraphs tops) and nothing more.

      Connects Zettlekasten method to "atomic notes" - 1 idea per page. Is this same as atomic habits?

  3. Sep 2021
  4. May 2021
  5. juancbritlit.wordpress.com juancbritlit.wordpress.com
    1. A man, to give his own soul to the devil is lost A man with a title and intelligence is the cost A conscience with a regret and many desires A conscience fooled by known liars A body in this deal is left in this trend A body without a soul, is it worth it at the end

      This stanza is really effective - I like the repetition you're using here. You've wrapped this up beautifully. This was great!

    2. My mind is where his last words stayed

      strong line!

    3. But first I must meet with the Dark King How To Summon the Devil Draw Satan’s star in the blood of a goat

      I love the three terms you're using here and how they connect - Dark King, Devil, Satan, etc.

    4. Heart racing, blood streaming hot with my body sweating

      Great imagery in this line :)

    5. lightly

      I'm liking your rhyming scheme :)

    6. I see that I want power

      It's interesting because I think your project is about Faustus but this line could apply to Everyman, Prospero and so many other figures we've looked at this semester!

    1. I just love young and healthy flesh, it is so refreshing!

      Haha!! This is fantastic. So dark and so good. The absurdist elements are such a great match for

    2. It is a classic and adding a little human to it makes it far better than any old chocolate or vanilla pudding.

      I like the playfulness here in terms of the British vs. American definitions of "pudding" :)

    3. humans battle a fever for days at a time

      self-cooking!

    4. I recently had the opportunity to sit down and discuss my occupation with the young and striking Margaret Cavendish.

      I think it is incredible that you have done this whole project from the perspective of Death (who we have also seen personified in some our other works; I personally really like your interpretation of this "character"!)

    5. liced and remove excess fat

      This is incredibly visual :)

    6. you can even collect those who have drowned at sea which have already begun to pickle!

      haha! These recipes are amazing! They're only missing the long lead-in story about wafts of delicious human flesh-cake coming from good, old grandma's oven!

  6. Apr 2021
    1. writing a poem isn’t exactly like Wordsworth’s emotion recollected in tranquility. The nurse’s approach might be described as professional barriers to emotion dismantled out of poetic necessity.

      The defenses and walls have to be "dismantled" in order to access the poet's emotionality

    2. They are present at moments of human vulnerability. At the same time, the work that nurses do—often so close to our pain as to breathe the very air of it—demands a discipline that limits access to emotion.

      This is the essential dichotomy

    3. “Call them simply writers who happen to have unusual access to us.”

      strong line

    4. more likely to be narrative, to appeal to the senses, to be attentive to the human body in ways that are knowing, and authoritative.

      This is what makes it a distinct category of poets (and poetry)

    5. a working life that requires an intimacy with human suffering the likes of which no other profession requires.

      strong line

    6. illness, birth, dying and death, suffering and healing.

      the intersection of "themes" between nursing and literature

    7. when nurses write poems, they quite often are writing about their working lives,

      as opposed to business men who don't

    8. Can Poetry Matter?: Essays on Poetry and American Culture

      This article from the Atlantic seems to be the argument in microcosm: https://www.theatlantic.com/magazine/archive/1991/05/can-poetry-matter/305062/

    9. what is it about the body of work written by nurses—as a distinct group—that is worth our attention?

      thesis question

    10. ne of the more extreme and paradoxical examples of the alienated modern artist.

      we simply do not value poetry as a profession - so, of course, there are many "artists" who must be other things as well

    11. simplify themselves into the conventional image of poet.

      there are many ways of being a "poet"

    12. But in truth I’m a poet who happens to be a nurse.

      She values her creative life above her workaday life.

    1. a thing that flares apart in the tumult, a thing that surrenders to the wind. 

      Is this a reference to the white petals?

    2. The blisters have healed, the bruises have faded, the evidence has vanished

      The physical scars are gone...but what of her internal scars?

    3. he watches the white petals tremble, and, in a gust, a single blossom is torn off a branch.

      What do the white petals and this branch symbolize?

    4. eaves on the trees, and wild-magnolia blossoms on the branches

      This would indicate late spring/early summer.

    5. Don’t touch my boy! Mateo!” A

      This is the "climax" of the story.

    6. Alicia and her daughter are released. Marta is sent back. She doesn’t see Esme again.

      The other women she has met have all left already.

    7. She loses track of the dots. She loses track of herself.

      What does this mean?

    8. Her heart pounds. She can hear the echo of it deep in her ears,

      Direct characterization

    9. They were separated along the way, overnight, a few days ago. The man who was leading them here divided the group.

      This is how she becomes separated from her son.

    10. She looks at the woman—she can’t help it—with delirious hope

      Direct characterization

    11. Esme lost her baby.

      This is the character who is "unsympathetic" earlier in this story.

    12. People outside hold signs that say “ILLEGAL IS A CRIME” and “SEND THEM BACK WITH BIRTH CONTROL.” People hold American flags over their shoulders like capes. Superhero Americans.

      This is giving us a glimpse of cultural/historical setting.

    13. Often now, she wants to scream. Sometimes she does, and then the guards come to restrain her. They hold her arms behind her back.

      She's acting out now. In the next lines the author describes solitary confinement.

    14. She clenches her fists. She digs her nails into her palms, determined not to cry.

      direct characterization

    15. And you’re pretty.

      This is direct characterization of the main character (the first description we are getting of her in this way). Why do you think the author has chosen this to be in the words of her lawyer?

    16. Tell me everything. They’ll need to determine if you qualify for asylum

      If she proves "credible fear" drove her to the U.S. she can claim asylum.

    17. Everything is far from here

      Note the use of the story's title here.

    18. They sleep in the bed together. They shower together. The girl won’t leave her mother’s side.

      This is a child around the same age as Gabriel; it provides a view of what the main character desires.

    19. Don’t let yourself give way.

      She will stand strong. For now.

    20. What if everything fails, and getting through life is simply learning to cope with the failure?

      She's contemplating that it might all have gone horribly wrong. That she may have lost everything and it has all failed.

    21. What i

      These are her questions to herself.

    22. A boy who looks like me?

      Heartbreaking.

    23. When the weather turns cold

      This indicates a passing of seasons, a passing of time.

    24. Periodically, new people arrive, escorted by border-patrol agents. A few every week.

      Note that routine and repetition are used here to emphasize the type of setting she is in.

    25. She marks the days on her arm. A small dot on the inside of her wrist becomes a trail, then a winding chain.•

      Note that this is how she marks time (and there are dots to separate sections in this piece...)

    26. Hash browns and syrup for breakfast. Chicken broth and French fries for lunch. Turkey cutlets and potato dumplings for dinner. So many potatoes. It’s a world made of potatoes. There is water to drink, but it tastes like chlorine, and it makes her nauseous.

      Objects (part of physical description).

    27. Gabriel Rivas

      Name of the son is first heard here.

    28. a chain-link fence topped with a confection of barbed wire and, just beyond it, an open field speckled with wildflowers and long grass and a few broad trees.

      Note the contrast of physical settings here; what do they indicate?

    29. It’s a warehouse, this place: cement floors, fluorescent tube lights in the ceiling, flyers taped to the painted cinder-block walls—ads for phone services, for immigration attorneys, for psychologists.

      More physical description of setting.

    30. .

      This paragraph is giving an indication of daily routine or procedure.

    31. her husband died four years ago.

      Her son has never known his father.

    32. The sound of her laughter blooms in the dark.

      This is her laughter. They already think she's crazy for it.

    33. They’re stacked neatly in bunk beds, like bodies in a morgue, and she stares at the bowing mattress above her, the straining metal coils, worried that they will not hold.

      Physical description of setting (and use of simile: "like bodies in a morgue")

    34. Dora the Explorer

      This feels ironic in the context.

    35. eight-year-olds curled against the bars

      Even older children are kept in the cribs.

    36. He’s five years old. He has black hair, parted on one side, and a freckle, right here, under his eye. He was wearing a Spider-Man shirt.

      Direct description of her son.

    37. “¿Mi hijo?”

      This reminds me of la Llorona.

    38. What he meant was that they were there to take care of him. Four women. Which they did.

      The women are sexually assaulted and then left alone.

    39. back of his hand, swift to the jaw.

      The women are controlled through violence and fear.

    40. They tell her to sleep, but that can’t be right.

      She cannot rest.

    41. a broken sandal strap, sunburn on her cheeks, mud in her ears, bugs in her hair, blisters around her ankles, bruises on her hips, boiled eggs, bottled water, sour berries, pickup trucks and train cars and footsteps through the dirt, sunrises and sunsets,

      This is a physical description of her journey. Each of these elements is symbolic of what she has lost, what she has endured and what she is "relieved" to be through.

    42. n the first day

      Is this the first day in the U.S.? First day in the facility?

    1. She was going to tell them something, the thing she has learned, but already it is draining from her, disappearing like water poured over sand

      The meaning of life was briefly revealed but is fading fast.

    2. Her name is Julia.

      She is named as well.

    3. Jonathon

      he has a name!

    4. he should have been asked

      they do not invite her to their spiritual ceremony

    5. But, when he does die, it is the Mother beside him.

      She is with him until the end.

    6. It is the Mother’s choice to walk this narrow path of unbelief, and to sit alone with the Son in the depths of the night.

      She knows the reality of the world. She is not a believer so she must endure the death for what it is.

    7. He is exactly Attila’s height and build, the Mother notes, their heads bend together above all the other heads, the tallest trees.

      Attila is "father figure" to the boy.

    8. Another tumour picks him up like a pillow

      personification

    9. One tumour is an electric storm: i

      Interesting metaphor.

    10. The tumours cannot eat chess,

      "I've figured it all out."

    11. “Yes,” says the Mother, “It’s a terrible feeling.”

      The son finally understands how his mother felt.

    12. I internalised your response.

      The power of a mother.

    13. the Baby has a chemical effect on the Mothers’ vision

      She is remembering her son at that age. Maybe.

    14. after some days of laughing the tumour shrank and disappeared

      Laughing can take tumors away (this is what Attila believes).

    15. I am actually this angry with hospitals. I really do hate you. You are not doing anyone any good and I do not give you permission to put your fingers in my brain.”

      He is sick of treatment.

    16. bore holes or storm systems or black beetles

      symbols/metaphors for the tumors (again, some animalistic imagery)

    17. Mother/Grandmother.

      new title.

    18. dandelion head.

      similar to the father? little hair?

    19. a November guy.

      A guy near the end of his life?

    20. liquid dark eyes

      similar to his "shining eyes"?

    21. There are girls, now, and here is one beside him, importantly holding his hand.

      He has found love.

    22. he is bonily handsome

      direct characterization

    23. the Son now goes to university.

      He's now a young adult.

    24. It is she who owes him his, in the same way you owe a child a good picnic, when it is your idea to set out, and you who forgot the map, and now you are lost and there is no hope ever of the rain turning off.

      She brought him into the world; it is she who owes him.

    25. Zopiclone

      a nonbenzodiazepine used to treat difficulty sleeping

    26. Edwards Syndrome.

      Edwards syndrome, also known as trisomy 18, is a genetic disorder caused by the presence of a third copy of all or part of chromosome 18.[3] Many parts of the body are affected.[3] Babies are often born small and have heart defects.[3] Other features include a small head, small jaw, clenched fists with overlapping fingers, and severe intellectual disability.[3]

    27. She is thinking about her love for her son. It was born at the same time as him, and she is not in control of it

      A mother's love.

    28. How can it be an impulse?” hisses the Mother, furiously, “to bypass six security systems?”

      Suicide attempt?

    29. She doesn’t know why

      Her instinct.

    30. Acute General

      Emergency Room

    31. and daringly the Mother takes his hand

      "daringly" because he is now an adolescent.

    32. White Fang

      White Fang is a novel by American author Jack London (1876–1916) — and the name of the book's eponymous character, a wild wolfdog. First serialized in Outing magazine, it was published in 1906. The story details White Fang's journey to domestication in Yukon Territory and the Northwest Territories during the 1890s Klondike Gold Rush. It is a companion novel (and a thematic mirror) to London's best-known work, The Call of the Wild (1903), which is about a kidnapped, domesticated dog embracing his wild ancestry to survive and thrive in the wild.

    33. Robert Louis Stevenson

      Robert Louis Stevenson (born Robert Lewis Balfour Stevenson; 13 November 1850 – 3 December 1894) was a Scottish novelist, poet and travel writer, most noted for writing Treasure Island, Strange Case of Dr Jekyll and Mr Hyde, Kidnapped, and A Child's Garden of Verses.

      He had severe bronchial trouble but it did not keep him from travelling.

    34. You’re alive in your mind, that’s the thing. The life of the mind.”

      Mother's definition.

    35. scents danger.

      I like the play on words here - "scents danger" rather than "senses danger."

    36. We’ve got the technology now. And cos we have the technology, we have to save her.

      He is outlining an essential medical dilemma here: must we save everyone? Does quality of life matter?

    37. So is genetics, and blame.

      The uneasy relationship of a mother-child when illness is involved.

    38. the new guy

      new doctor?

    39. Once, the Son was prodigious and original, and the Mother was daffy and whacky, and they were on the same side

      How things were in his childhood (before his current adolescent state)

    40. EFL oral exams

      "English as a Foreign Language"

    41. So would I

      Is the mother also ill or is she saying this hyperbolically?

    42. she fears sick things:

      direct characterization - does she fear her own son?

    43. Do Something

      Note the use of capitalization - something official. Something demanded.

    44. A Not-Dead.”

      connection to title (definition to come)

    45. large, glittering brown eyes

      direct characterization

    46. biro drawings

      Ballpoint pen drawings

    47. the sun is streaming in

      Sun = life

    1. one thing.

      What is the "one thing"?

    2. sounds carry weight and travel in waves

      sounds are so powerful they can crack stone.

    3. karst

      landscape underlain by limestone which has been eroded by dissolution, producing ridges, towers, fissures, sinkholes and other characteristic landforms.

    4. Give him a reason to come back to us,

      His mother says.

    5. Same.”

      No improvement. No decline. Same.

    6. She can hear the Creole news broadcast blasting from the radio that’s always on in her parents’ apartmen

      It's her parents calling.

    7. Wild Is the Wind
    8. . The night nurse won’t say, perhaps so she and others don’t storm the building

      Nurse must be discreet.

    9. he seemed to be saying under the face mask,

      he's wearing a mask.

    10. He could still breathe on his own then

      He's not yet on a ventilator.

    11. But first they had to go on the delayed honeymoon to her namesake cave.

      This was their next plan.

    12. Flatbush Avenue restaurant

      Again, setting = NYC

    13. “What did you two spend the night talking about?” the morning nurse asks.

      They've been on the phone all night.

    14. his racing breath

      Covid.

    15. Who would I have to dress as to be able to see you, and fight for you, with you?

      She cannot be with him in his illness.

    16. her mother was born, in the south of Haiti

      Haitian descent. Him, too, maybe?

    17. while the language they’ve been hearing since birth slowly slipped away.

      Immigrant community

    18. so striking they could burn your pupils with their beauty

      he's a poet!

    19. he’d no longer use that particular word

      Maybe he is a "plain talker/speaker"?

    20. Maybe not in Brooklyn,

      This is where "she" and "he" live.

    1. nd replicate the motion countless times over the years, giving herself pleasure, j

      The hand is connection, life, pleasure - not death.

    2. the hand itself,

      Is the hand life?

    3. it seemed as if all she had ever learned on the job came into play as she spoke soothingly to him, making a gentle patting motion on his back, the kind of gesture you’d use to calm a baby at night—a gentle repeated pat, not too soft and not too hard.

      Her nursing technique?

    4. He nudged her awake and explained that he was the one who’d gone trigger happy on the old lady in Fallujah

      He killed the old woman - this is why he's obsessed with killers?

    5. and when she made that sound he made it, too

      they cry together

    6. an airless freedom

      space, stars, "airless freedom"

    7. forgetting his scars

      she is no longer focusing on him

    8. craterlike hollow

      emptiness inside him?

    9. A hit could come as easily as a kiss.

      This is the second time this phrase appears.

    10. all she had—she sometimes felt—was the small accumulations, one upon the next, because the past had taught her to take care with all of that, to be frugal with matters of the heart.

      Reserved, self-protecting

    11. and let Marlon see in her face the things she wanted him to see, that she had suffered at the hands of Roy.

      She doesn't tell him directly that she's been hurt before. She hopes he knows it by her look.

    12. because she always had one bottled up, at bay, and that was part of the dynamic, the urge to talk to him, and to hear him talk back.

      She is holding stories, too.

    13. Go back to how, after she’d told Marlon about the dentist, an old couple appeared between the sliding doors and began a slow, shuffling walk across the parking lot, holding each other up, and how he paused (holding off on the nursing lecture) and said, How did Curt die? He said it before she could tell him the fact. Not so much guessing as seeming to have a prophetic insight. And she said, Hey, how’d you know?, and he shrugged and looked away and listened as she explained that Curt had jumped from a bridge, and then, right then, the wind lifted and litter skittered and an E.M.S. came into the emergency bay and across the street there was the high, metallic, and beautiful sound of kids playing before she began to cry.

      These are the smaller moments that occured before the "wide vantage"

    14. NoWait, there were a lot of other conversations, late in the summer and early in the fall,

      This is the first flashback. Here the author is saying there is more to the story (more that we will never know) but that the human impulse is to create "neat narrative arcs" so all those smaller moments will be "not in memory"

    15. gazing up at the stars

      The stars represent life in this piece.

    16. I think this here is probably the loneliest road in America, and they headed out of town,

      They are both lonely! On a lonely road!

    17. he desolation of Newburgh

      doesn't his mother live there?

    18. Up the old state road

      On a journey with a river that appears and disappears (road is not clear)

    19. he took care with matters of the heart, the past having taught her that a hit could come as easily as a kiss.

      She is cautious (due to past experiences)

    20. ncinerated aftermath of old bandages and bloodied towels, afterbirths and whatever else could be burned to save the hospital disposal fees.

      Burning the blood. More death.

    21. the early-autumnal sky

      The seasons are changing = midlife.

    22. she pulled him close.

      She allows him to be vulnerable.

    23. the sounds of summer,

      Summer = adolescence, awakening.

    24. My grandmother had rheumatoid arthritis,

      Like the woman who was shot.

    25. His eyes were painfully green as the grief twisted his face and the trees near the road gave off a sugary odor and tenderness formed in the quiet.

      His setting is mirroring his internal state here.

    26. he began to talk again about the impulse to kill

      He is rather obsessed with this idea.

    27. how fucking easy it would be to save the kid from suffering

      How easy and merciful it would be to kill.

    28. She had this hangup about being from the West, and then there she was, living in Newburgh, New York.

      The mother moved to NY

    29. my mom used to say.

      Marlon is speaking here (for the first time?)

    30. Wolf could bring people back to life but he didn’t do it, because there’d be too many people in the world if he did.

      Wolf = angel of death

    31. Marlon

      Male character: Marlon

    32. the clean, raw rotation of the stars

      this is a beautiful way of saying the "wider world"

    33. her mother had travelled around a lot, following one asshole after another, and she got used to it

      detached, a traveller, a lonely soul

    34. Changing bedpans and lifting armrests and holding shoulders, checking charts, slipping little baggies over the tips of thermometers, inserting I.V. needles.

      Activities of nurses described here.

    35. He resistedGiving her the standard nurse-to-nurse talk

      He wants something deeper with her; deeper conversation, connection.

    36. lashing out for no good reason, because you were a bearer of good tidings.

      Some people are ready to die.

    37. He was seeing what I saw but couldn’t tell him.

      She cannot tell him he will die. But he knows it already.

    38. the air-conditioner in the trailer would pop on, devouring the sounds:

      This gives a feeling of a clandestine meeting

    39. an excuse to talk about the war,

      He wants to talk about his experience