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I’ve never been married. I never got married. The woman I didn’t marry is named Marie. Technically, she doesn’t exist. Just like Ed. Except that she does. A little paradox, you might think, but really, The Woman I Never Married is a perfectly valid ontological entity. Or class of entities. I suppose technically you could make the argument that every woman is The Woman I Never Married. So why not call her Marie, that was my thinking. This is how we never met: One fine spring day, Marie went to the park in the center of town, near the middle school and the old bakery that is now a furniture
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afternoon, we shared a bench, asked polite questions, tried hard not to stare at each other while we imagined the perfect life we were never going to have together, a life we never even lost, a life that would have started, right at that moment, and never did.
We made equations. Equations that had sadness as a constant, whose escape velocities seemed impossibly out of reach.
My cousin is in accounts receivable on the Death Star, and whenever we talk he always says how nice it’d be if I joined him. He says they have a good cafeteria. So that’s an option. And there’s an opening for a caseworker at the social services bureau for noninteresting aliens. Government pension.
In order to qualify as a protagonist, a human must be able to demonstrate an attachment coefficient of at least 0.75. A coefficient of 1.00 or above is required in order to be a hero. Factors used in calculating the coefficient include ability to believe fervency of that belief humility willingness to look stupid
willingness to have heart broken willingness to see U31 as nonboring or, better yet, to see it as interesting, and maybe even important, and despite its deeply defective nature possibly even worth saving
I.e., it is possible, in principle, to construct a universal time machine from no other components than (i) a piece of paper that is moved in two directions through a recording element, backward and forward, which (ii) performs only two basic operations, narration and the straightforward application of the past tense.
path through time, the shortest distance between birth and death. I
noticed, on most nights, his jaw clenched at dinner, the way he closed his eyes slowly when my mother asked him about work, watched him stifle his own ambition, seeming to physically shrink with each professional defeat, watched him choke it down, with each year finding new and deep places to hide it all within himself, observed his absorption of tiny, daily frustrations that, over time (that one true damage-causing substance), accumulated into a reservoir of subterranean failure, like oil shale, like a volatile substance trapped in rock, a vast quantity of potential energy locked in to an
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thinking back, I can see how the books were all related, I can see how they were, collectively, a bibliography of a career in striving, in aiming, in seeking to understand the world.
titles dripping with superlatives, with promises of actualization, realization,
Mom would bring cut cubes of watermelon, pierced with toothpicks, and the three of us would press them into our mouths, drinking the cold juice.
it’s true: time does heal. It will do so whether you like it or not, and there’s nothing anyone can do about it. If you’re not careful, time will take away everything that ever hurt you, everything you have ever lost, and replace it with knowledge. Time is a machine: it will convert your pain into experience. Raw data will be compiled, will be translated into a more comprehensible language. The individual events of your life will be transmuted into another substance called memory and in the mechanism something will be lost and you will never be able to
reverse it, you will never again have the original moment back in its uncategorized, preprocessed state. It will force you to move on and you will not have a choice in the matter.
Ed sighs. Dog sighs are some form of distilled truth. What does he know? What do dogs know? Ed sighs like he knows the truth about me and he loves me anyway.
We cross the street to the opposite corner where an old man and some kind of genius baby play eleven-dimensional music on a four-handed instrument.

