by Akim Reinhardt
Stuck is a weekly serial appearing at 3QD every Monday through early April. The Prologue is here. The table of contents with links to previous chapters is here.
Forever is a long time.
When I was 8 years old, I vowed that I would never smoke a cigarette. Had my first one when I was 19 and smoked steadily for several years. Camels unfiltered.
At age 10, I made a pact with my best friend: under no circumstances would we ever do drugs. I don’t even know where to begin with that one; it’d be a whole separate book.
Circumstances change. People change. Everything within you changes, as does everything you are within. Oaths are so hard to keep that their ultimate meaning perhaps lies in the breaking. That life is not about our hopes and dreams, but the ways we turn them into lies.
At the alter of a Lutheran church in North Carolina, my paternal grandparents married forever in eyes of God. A couple of decades later, they got divorced. Then they married each other once more. Followed by yet another divorce.
The oath as a sling shot. The oath as a yo-yo.
No less than three times has Sean Connery sworn he was done playing James Bond. Beginning in 1962, he did five films in five years. He burned out, was unhappy with the pay, and worried about typecasting. So he quit the franchise for the first time in 1967 after You Only Live Twice. Read more »



Lili Marleen is one of the best known songs of the twentieth century. A plaintive expression of a soldier’s desire to be with his girlfriend, it is indelibly associated with World War II, in part because it was popular with soldiers on both sides. It was
Marlene Dietrich, who worked tirelessly during world war two entertaining allied troops, also recorded both a 
While waiting, shivering and jetlagged, for a train home from the Paris airport this week, I alternately stared into space and checked the train timetables. My train was an hour late. I later learned, thanks to the friendliness of a fellow traingoer, that the train had hit a deer.

Wine writers, especially those who write wine reviews, are often derided for the flowery, overly imaginative language they use to describe wines. Some of the complainants are consumers baffled by what descriptors such as “brooding” or “flamboyant” might mean. Other complainants are experts who wish wine language had the precision of scientific discourse. The Journal of Wine Economists 
In the Chinese calendar, 2015 was the year of the sheep. I’m a sheep, and I briefly got into it. When you’re a sheep, you gotta own it.
Schoolteachers across the grades are responsible for teaching their students how to write. Their essential pedagogical role is instrumental. With particular attention paid to format, grammar, spelling, and syntax, students ideally learn to write what they know, think, or have learned. It matters little if the student is in a class for “creative writing” or “composition,” writing is taught and practiced as a way to record thoughts, compose ideas in a coherent manner, and clearly communicate information. A student’s writing is then assessed for how well she adhered to these instrumental standards while the teacher is assessed for how well she adhered to the standards of instrumental teaching.

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I have an awful confession to make. I haven’t made up my mind about whether President Trump should be convicted and removed from office.
When Bob Dylan was awarded the Nobel Prize in Literature in 2016, the poet Nora Gomringer expressed her satisfaction at the recognition thus afforded not only poetry, but in particular songwriting, which she identified as the very wellspring and guarantee of literature, citing in her appraisal such classical forebears as Sappho and Homer. In an article published in the Neue Zürcher Zeitung, Gomringer mocked the conventional Western view of letters, a canon founded on prose and the novel, and now challenged by the award to Bob Dylan: “Literature is serious, it is beautiful, it is a vehicle for the noble and the grand; poetry is for what is light, for the aesthetically beautiful, it can be hermetic or tender, it can tell its story in a ballad and, if especially well made, can invite composers to set it to music…”. But “such categories”, she went on to suggest, “are stumbling blocks and increasingly unsatisfying, since they have ceased to function”, in part because of the Academy’s willingness to step outside its comfort zone and award the prize to a popular “singer/songwriter”.