Appropriate Famous Quotes

O your life, your lonely life What have you ever done with it, And done with the great gift of consciousness? What will you ever do before Death's knife Provides the answer ultimate and appropriate? As I for my part felt in my heart as one who falls, Falls in a parachute, falls endlessly, and feels the vast Draft of the abyss sucking him down and down, An endlessly helplessly falling and appalled clown: This is the way the night passes by, this Is the overnight endless trip to the famous unfathomable abyss.

The famous words of Emma Lazarus on the pedestal of the Statute of Liberty read: "Give me your tired, your poor, your huddled masses yearning to breathe free." Until 1921 this was an accurate picture of our society. Under present law it would be appropriate to add: "as long as they come from Northern Europe, are not too tired or too poor or slightly ill, never stole a loaf of bread, never joined any questionable organization, and can document their activities from the past two years.

Yoga has been superficially misunderstood by certain Western writers, but its critics have never been its practitioners. Among many thoughtful tributes to yoga may be mentioned one by Dr. C. G. Jung, the famous Swiss psychologist. “When a religious method recommends itself as ‘scientific,’ it can be certain of its public in the West. Yoga fulfills this expectation,” Dr. Jung writes.10 “Quite apart from the charm of the new and the fascination of the half-understood, there is good cause for Yoga to have many adherents. It offers the possibility of controllable experience and thus satisfies the scientific need for ‘facts’; and, besides this, by reason of its breadth and depth, its venerable age, its doctrine and method, which include every phase of life, it promises undreamed-of possibilities. “Every religious or philosophical practice means a psychological discipline, that is, a method of mental hygiene. The manifold, purely bodily procedures of Yoga11 also mean a physiological hygiene which is superior to ordinary gymnastics and breathing exercises, inasmuch as it is not merely mechanistic and scientific, but also philosophical; in its training of the parts of the body, it unites them with the whole of the spirit, as is quite clear, for instance, in the Pranayama exercises where Prana is both the breath and the universal dynamics of the cosmos…. “Yoga practice...would be ineffectual without the concepts on which Yoga is based. It combines the bodily and the spiritual in an extraordinarily complete way. “In the East, where these ideas and practices have developed, and where for several thousand years an unbroken tradition has created the necessary spiritual foundations, Yoga is, as I can readily believe, the perfect and appropriate method of fusing body and mind together so that they form a unity which is scarcely to be questioned. This unity creates a psychological disposition which makes possible intuitions that transcend consciousness.

There’s nothing to be gained by referring to the playwright Tennessee Williams as “the famous playwright Tennessee Williams.” If a person is famous enough to be referred to as famous, there’s no need to refer to that person as famous, is there. Neither is there much to be gained by referring to “the late Tennessee Williams,” much less “the late, great Tennessee Williams,” which is some major cheese. I’m occasionally asked how long a dead person is appropriately late rather than just plain dead. I don’t know, and apparently neither does anyone else.

Flambeau, once the most famous criminal in France and later a very private detective in England, had long retired from both professions. Some say a career of crime had left him with too many scruples for a career of detection. Anyhow, after a life of romantic escapes and tricks of evasion, he had ended at what some might consider an appropriate address; a castle in Spain. [...] Flambeau had casually and almost abruptly fallen in love with a Spanish lady, married and brought up a large family on a Spanish estate, without displaying any apparent desire to stray again beyond its borders.

The most famous Diophantine equation in history is the one known as Fermat's last Theorem, the celebrated statement by Pierre de Fermat (1601-55) that there are no whole number solutions to the equation x^n + y^n = z^n, where n is any number greater than 2. When n = 2, there are many solutions (in fact an infinite number). For instance, 3^2 + 4^2 = 5^2 (9 + 16 = 25); or 12^2 +5^2 = 13^2 (144 + 25 = 169). Miraculously, when we go from n = 2 to n = 3, there are no whole numbers x,y,z that satisfy x^3 + y^3 = z^3, and the same is true for any other value of n that is greater than 2. Appropriately, it was in the margin of the second book of Diophantus's Arithmetica, which Fermat was eagerly reading, that he wrote his extraordinary claim-one that took no fewer than 356 years to prove.

Some writers, even some poets, become famous public figures, but writers as such have no social status, in the way that doctors and lawyers, whether famous or obscure, have. There are two reasons for this. Firstly, the so-called fine arts have lost the social utility they once had. Since the invention of printing and the spread of literacy, verse no longer has a utility value as a mnemonic, a devise by which knowledge and culture were handed on from one generation to the next, and, since the invention of the camera, the draughtsman and painter are no longer needed to provide visual documentation; they have, consequently, become “pure” arts, that is to say, gratuitous activities. Secondly, in a society governed by the values appropriate to Labor (capitalist America may well be more completely governed by these than communist Russia) the gratuitous is no longer regarded – most earlier cultures thought differently – as sacred, because, to Man the Laborer, leisure is not sacred but a respite from laboring, a time for relaxation and the pleasures of consumption. In so far such a society thinks about the gratuitous at all, it is suspicious of it – artists do not labor, therefore, they are probably parasitic idlers – or, at best, regards it as trivial – to write poetry or paint pictures is a harmless private hobby.

In Stalin’s famous words, one death is a tragedy; one million deaths is a statistic. In this case, it is not even a particularly good statistic. The very incomprehensibility of what a million horrible and violent deaths might mean, and the impossibility of producing an appropriate response, is perhaps the reason that the events following partition have yielded such a great and moving body of fictional literature and such an inadequate and flimsy factual history. What does it matter to the readers of history today whether there were 200,000 deaths, or 1 million, or 2 million? On that scale, is it possible to feel proportional revulsion, to be five times more upset at 1 million deaths than at 200,000? Few can grasp the awfulness of how it might feel to have their fathers barricaded in their houses and burnt alive, their mothers beaten and thrown off speeding trains, their daughters torn away, raped and branded, their sons held down in full view, screaming and pleading, while a mob armed with rough knives hacked off their hands and feet. All these things happened, and many more like them; not just once, but perhaps a million times. It is not possible to feel sufficient emotion to appreciate this monstrous savagery and suffering. That is the true horror of the events in the Punjab in 1947: one of the vilest episodes in the whole of history, a devastating illustration of the worst excesses to which human beings can succumb. The death toll is just a number.

In Paley's famous illustration, the adaptation of all the parts of the watch to the function, or purpose, of showing the time, is held to be evidence that the watch was specially contrived to that end; on the ground, that the only cause we know of, competent to produce such an effect as a watch which shall keep time, is a contriving intelligence adapting the means directly to that end. Suppose, however, that any one had been able to show that the watch had not been made directly by any person, but that it was the result of the modification of another watch which kept time but poorly; and that this again had proceeded from a structure which could hardly be called a watch at all—seeing that it had no figures on the dial and the hands were rudimentary; and that going back and back in time we came at last to a revolving barrel as the earliest traceable rudiment of the whole fabric. And imagine that it had been possible to show that all these changes had resulted, first, from a tendency of the structure to vary indefinitely; and secondly, from something in the surrounding world which helped all variations in the direction of an accurate time-keeper, and checked all those in other directions; then it is obvious that the force of Paley's argument would be gone. For it would be demonstrated that an apparatus thoroughly well adapted to a particular purpose might be the result of a method of trial and error worked by unintelligent agents, as well as of the direct application of the means appropriate to that end, by an intelligent agent. Now it appears to us that what we have here, for illustration's sake, supposed to be done with the watch, is exactly what the establishment of Darwin's Theory will do for the organic world. For the notion that every organism has been created as it is and launched straight at a purpose, Mr. Darwin substitutes the conception of something which may fairly be termed a method of trial and error. Organisms vary incessantly; of these variations the few meet with surrounding conditions which suit them and thrive; the many are unsuited and become extinguished.

In the past few years, more and more passionate debates about the nature of SFF and YA have bubbled to the surface. Conversations about race, imperialism, gender, sexuality, romance, bias, originality, feminism and cultural appropriation are getting louder and louder and, consequently, harder to ignore. Similarly, this current tension about negative reviews is just another fissure in the same bedrock: the consequence of built-up pressure beneath. Literary authors feud with each other, and famously; yet genre authors do not, because we fear being cast as turncoats. For decades, literary writers have also worked publicly as literary reviewers; yet SFF and YA authors fear to do the same, lest it be seen as backstabbing when they dislike a book. (Small wonder, then, that so few SFF and YA titles are reviewed by mainstream journals.) Just as a culture of sexual repression leads to feelings of guilt and outbursts of sexual moralising by those most afflicted, so have we, by denying and decrying all criticism that doesn’t suit our purposes, turned those selfsame critical impulses towards censorship. Blog post: Criticism in SFF and YA

THE FIVE WAYS OF HIGH INTENSITY SELF-DECEPTION So, since we postulate psychosis as a continuum of self-deception experiences, it is appropriate to distinguish the main channels that the effort of self-deception, when carried out in a superlative way, would use to materialize a) Memory impairment This would be the case of one who remembers more easily successes than their failures at one end of low-intensity self-deception, or who changes his entire biography adopting a false identity at the other end, and through different gradations of self-deception. b) The alteration of the information from the 5 senses. This would be the case of hallucinations. c) Alteration of reasoning and logic. Even being true, the information coming from the memory and the five senses, it is possible to process it so that it reaches conclusions that are away from the premises and thus achieve self-deception. An attenuated example of this would be known "bias" and a stronger then this would be the total distortion of logic and language. d) Mysticism. While respecting the information that comes from the five senses, memory, and without destroying logic or reasoning, self-deception could be carried out in superlative dimensions if you follow the path of mysticism. Here, the mechanism operates like believing in stories that, because they are mystical, take place beyond the perceptible and, therefore, do not contradict the information provided by the five senses. e) Mixed. The fifth way, which will be the most common, will be a mixture of all –or some– of the above, in different proportions. In the famous Schreber case, for example, a mystical-type story is seen, along with certain "bizarre" content in its composition

There is only one historical development that has real significance. Today, when we finally realise that the keys to happiness are in the hands of our biochemical system, we can stop wasting our time on politics and social reforms, putsches and ideologies, and focus instead on the only thing that can make us truly happy: manipulating our biochemistry. If we invest billions in understanding our brain chemistry and developing appropriate treatments, we can make people far happier than ever before, without any need of revolutions. Prozac, for example, does not change regimes, but by raising serotonin levels it lifts people out of their depression. Nothing captures the biological argument better than the famous New Age slogan: ‘Happiness begins within.’ Money, social status, plastic surgery, beautiful houses, powerful positions – none of these will bring you happiness. Lasting happiness comes only from serotonin, dopamine and oxytocin.1 In Aldous Huxley’s dystopian novel Brave New World, published in 1932 at the height of the Great Depression, happiness is the supreme value and psychiatric drugs replace the police and the ballot as the foundation of politics. Every day, each person takes a dose of ‘soma’, a synthetic drug which makes people happy without harming their productivity and efficiency. The World State that governs the entire globe is never threatened by wars, revolutions, strikes or demonstrations, because all people are supremely content with their current conditions, whatever they may be. Huxley’s vision of the future is far more troubling than George Orwell’s Nineteen Eighty-Four. Huxley’s world seems monstrous to most readers, but it is hard to explain why. Everybody is happy all the time – what could be wrong with that?

Yoga has been superficially misunderstood by certain Western writers, but its critics have never been its practitioners. Among many thoughtful tributes to yoga may be mentioned one by Dr. C. G. Jung, the famous Swiss psychologist. “When a religious method recommends itself as ‘scientific,’ it can be certain of its public in the West. Yoga fulfills this expectation,” Dr. Jung writes (7). “Quite apart from the charm of the new, and the fascination of the half-understood, there is good cause for Yoga to have many adherents. It offers the possibility of controllable experience, and thus satisfies the scientific need of ‘facts,’ and besides this, by reason of its breadth and depth, its venerable age, its doctrine and method, which include every phase of life, it promises undreamed-of possibilities. “Every religious or philosophical practice means a psychological discipline, that is, a method of mental hygiene. The manifold, purely bodily procedures of Yoga (8) also mean a physiological hygiene which is superior to ordinary gymnastics and breathing exercises, inasmuch as it is not merely mechanistic and scientific, but also philosophical; in its training of the parts of the body, it unites them with the whole of the spirit, as is quite clear, for instance, in the Pranayama exercises where Prana is both the breath and the universal dynamics of the cosmos. “When the thing which the individual is doing is also a cosmic event, the effect experienced in the body (the innervation), unites with the emotion of the spirit (the universal idea), and out of this there develops a lively unity which no technique, however scientific, can produce. Yoga practice is unthinkable, and would also be ineffectual, without the concepts on which Yoga is based. It combines the bodily and the spiritual with each other in an extraordinarily complete way. “In the East, where these ideas and practices have developed, and where for several thousand years an unbroken tradition has created the necessary spiritual foundations, Yoga is, as I can readily believe, the perfect and appropriate method of fusing body and mind together so that they form a unity which is scarcely to be questioned. This unity creates a psychological disposition which makes possible intuitions that transcend consciousness.” The Western day is indeed nearing when the inner science of self- control will be found as necessary as the outer conquest of nature. This new Atomic Age will see men’s minds sobered and broadened by the now scientifically indisputable truth that matter is in reality a concentrate of energy. Finer forces of the human mind can and must liberate energies greater than those within stones and metals, lest the material atomic giant, newly unleashed, turn on the world in mindless destruction (9).

There is only one historical development that has real significance. Today, when we finally realise that the keys to happiness are in the hands of our biochemical system, we can stop wasting our time on politics and social reforms, putsches and ideologies, and focus instead on the only thing that can make us truly happy: manipulating our biochemistry. If we invest billions in understanding our brain chemistry and developing appropriate treatments, we can make people far happier than ever before, without any need of revolutions. Prozac, for example, does not change regimes, but by raising serotonin levels it lifts people out of their depression. Nothing captures the biological argument better than the famous New Age slogan: ‘Happiness Begins Within.’ Money, social status, plastic surgery, beautiful houses, powerful positions – none of these will bring you happiness. Lasting happiness comes only from serotonin, dopamine and oxytocin.

All Night, All Night Rode in the train all night, in the sick light. A bird Flew parallel with a singular will. In daydream's moods and attitudes The other passengers slumped, dozed, slept, read, Waiting, and waiting for place to be displaced On the exact track of safety or the rack of accident. Looked out at the night, unable to distinguish Lights in the towns of passage from the yellow lights Numb on the ceiling. And the bird flew parallel and still As the train shot forth the straight line of its whistle, Forward on the taut tracks, piercing empty, familiar -- The bored center of this vision and condition looked and looked Down through the slick pages of the magazine (seeking The seen and the unseen) and his gaze fell down the well Of the great darkness under the slick glitter, And he was only one among eight million riders and readers. And all the while under his empty smile the shaking drum Of the long determined passage passed through him By his body mimicked and echoed. And then the train Like a suddenly storming rain, began to rush and thresh-- The silent or passive night, pressing and impressing The patients' foreheads with a tightening-like image Of the rushing engine proceeded by a shaft of light Piercing the dark, changing and transforming the silence Into a violence of foam, sound, smoke and succession. A bored child went to get a cup of water, And crushed the cup because the water too was Boring and merely boredom's struggle. The child, returning, looked over the shoulder Of a man reading until he annoyed the shoulder. A fat woman yawned and felt the liquid drops Drip down the fleece of many dinners. And the bird flew parallel and parallel flew The black pencil lines of telephone posts, crucified, At regular intervals, post after post Of thrice crossed, blue-belled, anonymous trees. And then the bird cried as if to all of us: 0 your life, your lonely life What have you ever done with it, And done with the great gift of consciousness? What will you ever do with your life before death's knife Provides the answer ultimate and appropriate? As I for my part felt in my heart as one who falls, Falls in a parachute, falls endlessly, and feel the vast Draft of the abyss sucking him down and down, An endlessly helplessly falling and appalled clown: This is the way that night passes by, this Is the overnight endless trip to the famous unfathomable abyss.

In any long fiction, Henry James remarked, use of the first-person point of view is barbaric. James may go too far, but his point is worth considering. First person locks us in one character's mind, locks us to one kind of diction throughout, locks out possibilities of going deeply into various characters' minds and so forth. ....Vulgar diction in the telling of the Helen story would clearly create a white-hot irony, probably all but unmanageable. Colloquial diction and relatively short sentences would have the instant effect of humanizing once elevated characters and events. Highly formal diction and all that goes along with the traditional omniscient narrator might seem immediately appropriate for the seriousness of the story, but it can easily backfire, providing not suitable pomp but mere pompousness. And some choices in p.o.v. as well as in other stylistic elements, may have more direct bearing on the theme than would others. For instance, the "town" point of view, in which the voice in the story is some unnamed spokesman for all the community--among the most famous examples is Faulkner's "A Rose for Emily"--might have the immediate effect of foregrounding the story's controlling idea, conflicting community values versus personal values.

The appropriation of terms from psychology to discredit political opponents is part of the modern therapeutic culture that the sociologist Christopher Lasch criticized. Along with the concept of the authoritarian personality, the term “-phobe” for political opponents has been added to the arsenal of obloquy deployed by technocratic neoliberals against those who disagree with them. The coinage of the term “homophobia” by the psychologist George Weinberg in the 1970s has been followed by a proliferation of pseudoclinical terms in which those who hold viewpoints at variance with the left-libertarian social consensus of the transatlantic ruling class are understood to suffer from “phobias” of various kinds similar to the psychological disorders of agoraphobia (fear of open spaces), ornithophobia (fear of birds), and pentheraphobia (fear of one’s mother-in-law). The most famous use of this rhetorical strategy can be found in then-candidate Hillary Clinton’s leaked confidential remarks to an audience of donors at a fund-raiser in New York in 2016: “You know, to just be grossly generalistic, you could put half of Trump’s supporters into what I call the basket of deplorables. Right? They’re racist, sexist, homophobic, xenophobic, Islamophobic—you name it.” A disturbed young man who is driven by internal compulsions to harass and assault gay men is obviously different from a learned Orthodox Jewish rabbi who is kind to lesbians and gay men as individuals but opposes homosexuality, along with adultery, premarital sex, and masturbation, on theological grounds—but both are "homophobes.” A racist who opposes large-scale immigration because of its threat to the supposed ethnic purity of the national majority is obviously different from a non-racist trade unionist who thinks that immigrant numbers should be reduced to create tighter labor markets to the benefit of workers—but both are “xenophobes.” A Christian fundamentalist who believes that Muslims are infidels who will go to hell is obviously different from an atheist who believes that all religion is false—but both are “Islamophobes.” This blurring of important distinctions is not an accident. The purpose of describing political adversaries as “-phobes” is to medicalize politics and treat differing viewpoints as evidence of mental and emotional disorders. In the latter years of the Soviet Union, political dissidents were often diagnosed with “sluggish schizophrenia” and then confined to psychiatric hospitals and drugged. According to the regime, anyone who criticized communism literally had to be insane. If those in today’s West who oppose the dominant consensus of technocratic neoliberalism are in fact emotionally and mentally disturbed, to the point that their maladjustment makes it unsafe to allow them to vote, then to be consistent, neoliberals should support the involuntary confinement, hospitalization, and medication of Trump voters and Brexit voters and other populist voters for their own good, as well as the good of society.

Bruno reappeared with two baskets swathed in white linen napkins and a ramekin of something bright yellow. Thatcher unveiled one basket. "Pretzel bread," he said. He held up a thick braid of what looked to be soft pretzel, nicely tanned, sprinkled with coarse salt. "This is served with Fee's homemade mustard. So right away the guest knows this isn't a run-of-the-mill restaurant. They're not getting half a cold baguette here, folks, with butter in the gold foil wrapper. This is warm pretzel bread made on the premises, and the mustard ditto. Nine out of ten tables are licking the ramekin clean." He handed the bread basket to a waiter with a blond ponytail (male- everyone at the table was male except for Adrienne, Caren, and the young bar back who was hanging on to Duncan's arm). The ponytailed waiter- name?- tore off a hunk of bread and dipped it in the mustard. He rolled his eyes like he was having an orgasm. The appropriate response, Adrienne thought. But remembering her breakfast she guessed he wasn't faking it. "The other basket contains our world-famous savory doughnuts," Thatcher said. He whipped the cloth off like a magician, revealing six golden-brown doughnuts. Doughnuts? Adrienne had been too nervous to think about eating all day, but now her appetite was roused. After the menu meeting, they were going to have family meal. The doughnuts were deep-fried rings of a light, yeasty, herb-flecked dough. Chive, basil, rosemary. Crisp on the outside, soft on the inside. Savory doughnuts. Who wouldn't stand in line for these? Who wouldn't beg or steal to access the private phone line so that they could make a date with these doughnuts?

In the British statistician R. A. Fisher’s famous formulation, “the ‘one chance in a million’ will undoubtedly occur, with no less and no more than its appropriate frequency, however surprised we may be that it should occur to us.

As Sommerfeld said in his famous text "Spectral Lines and Atomic Constitution," on which a generation of physicists learned the subject, "In the fine structure constant e is the representative of the electron theory, h the appropriate representative of the quantum theory, c comes from relativity and characterizes it in contrast to classical theory.

I suppose that this viewpoint-that physical systems are to be regarded as merely computational entities-stems partly from the powerful and increasing role that computational simulations play in modern twentieth-century science, and also partly from a belief that physical objects are themselves merely 'patterns of information', in some sense, that are subject to computational mathematical laws. Most of the material of our bodies and brains, after all, is being continuously replaced, and it is just its pattern that persists. Moreover, matter itself seems to have merely a transient existence since it can be converted from one form into another. Even the mass of a material body, which provides a precise physical measure of the quantity of matter that the body contains, can in appropriate circumstances be converted into pure energy (according to Einstein's famous E=mc^2)-so even material substance seems to be able to convert itself into something with a theoretical mathematical actuality. Furthermore, quantum theory seemst o tell us that material particles are merely 'waves' of information. (We shall examine these issues more thoroughly in Part II.) Thus, matter itself is nebulous and transient; and it is not at all unreasonable to suppose that the persistence of 'self' might have more to do with the preservation of patterns than of actual material particles.

One thing that we conclude from all this is that the 'learning robot' procedure for doing mathematics is not the procedure that actually underlies human understanding of mathematics. In any case, such bottom-up-dominated procedure would appear to be hopelessly bad for any practical proposal for the construction of a mathematics-performing robot, even one having no pretensions whatever for simulating the actual understandings possessed by a human mathematician. As stated earlier, bottom-up learning procedures by themselves are not effective for the unassailable establishing of mathematical truths. If one is to envisage some computational system for producing unassailable mathematical results, it would be far more efficient to have the system constructed according to top-down principles (at least as regards the 'unassailable' aspects of its assertions; for exploratory purposes, bottom-up procedures might well be appropriate). The soundness and effectiveness of these top-down procedures would have to be part of the initial human input, where human understanding an insight provide the necesssary additional ingredients that pure computation is unable to achieve. In fact, computers are not infrequently employed in mathematical arguments, nowadays, in this kind of way. The most famous example was the computer-assisted proof, by Kenneth Appel and Wolfgang Haken, of the four-colour theorem, as referred to above. The role of the computer, in this case, was to carry out a clearly specified computation that ran through a very large but finite number of alternative possibilities, the elimination of which had been shown (by the human mathematicians) to lead to a general proof of the needed result. There are other examples of such computer-assisted proofs and nowadays complicated algebra, in addition to numerical computation, is frequently carried out by computer. Again it is human understanding that has supplied the rules and it is a strictly top-down action that governs the computer's activity.

Among the dismissive was writer Tom Wolfe, who divined the zeitgeist of the era when he dubbed the seventies “The Me Decade” in his famous 1976 essay. Wolfe appropriately defamed the era as a time in which individual emancipation trumped the idea of the civic good, in which decadence looked liked politics, and glitter could be mistaken for substance. If the political revolution could not be realized in post-sixties America, Wolfe argued, the only thing left was the “alchemical dream” of revolutionizing the self. As if to confirm Wolfe’s analysis, the seventies would often be symbolized by a spinning mirrored disco ball reflecting a mosaic of “hundreds of little me’s”—swirling fragments of individualism that made a mockery of the antediluvian dream of solidarity.9

They listened to a series of speeches by civil rights luminaries, capped off by a rousing, crowd-pleasing address by Martin Luther King. While the SCLC named their protest “Prayer Pilgrimage for Freedom,” its stated goals of expressing black unity and urging federal action on civil rights made the moniker that Jimmy gave it, “the March on Washington,” equally appropriate. That name, of course, was subsequently claimed by the much larger and more famous civil rights demonstration six years later. The huge crowds and celebrated oratory of the 1963 “March on Washington for Jobs and Justice” completely superseded the Prayer Pilgrimage in both size and importance, but the thousands who attended the 1957 affair made it the largest civil rights demonstration to date and a significant moment in the rising civil rights movement of the mid-1950s. Jimmy concluded his article with this assessment of the impact of the Prayer Pilgrimage: “The southern people went home determined beyond the expectations of even King. No one in the South is big enough to stop this march of people and no one can call it off.” 66

At the very beginning of the poetic argument, we entered the world of Job’s inner torment through the great death wish poem that takes up all of Chapter 3. These first thirty seven lines of God’s response to Job constitute a brilliantly pointed reversal, in structure, image, and theme, of that initial poem of Job’s. Perhaps the best way to sense the special weight of disputation over theodicy is to observe that it is cast in the form of a clash between two modes of poetry, one kind spoken by man and, however memorable, appropriate to the limitations of his creaturely condition, the other kind of verse a poet of genius could persuasively imagine God speaking…. Perhaps the finest illustration of this nice match of meaning and imagery between the two poems is the beautiful counterbalance between the most haunting of Job’s lines wishing for darkness and the most exquisite of God’s lines affirming light. Job, one recalls, tried to conjure up an eternal starless night: “Let its twilight stars go dark, / let it hope for light in vain, / and let it not see the eyelids of the dawn” (3:9). God, near the beginning of His first discourse, evokes the moment when creation was completed in an image that has become justly famous in its own right but that is also, it should be observed, a counterimage to 3:9: “When the morning stars sang together, / and all the sons of God shouted for joy” (verse 7). That is, instead of a night with no twilight stars, with no glimmer of dawn, the morning stars of creation exult. The emphasis in this line on song and shouts of joy also takes us back to the poem of Chapter 3, which began with a triumphant cry on the night of conception—a cry Job wanted to wish away—and proceeded to a prayer that no joyous exclamation come into that night (3:7).

From the Saturday afternoon Piper and her mother had gone to the animal shelter and spotted the little white dog with the floppy ears and a big brown patch around his left eye, they were goners. Piper had still been working on A Little Rain Must Fall, and it was the week before she attended her first---and last---Daytime Emmy Awards ceremony. She'd named the terrier Emmett in honor of the occasion, only later realizing how appropriate the moniker would be. The dog could just as easily have been named for world-famous clown Emmett Kelly. Happy-go-lucky and friendly, Emmett was very smart and responded exceptionally well to the obedience training Piper's father had insisted upon. But it was Piper's mother who cultivated the terrier's special talents, teaching him a series of tricks using food as a reward. The dog had already provided the Donovan family and their neighbors with hours and hours of delight and laughter when Terri came up with the idea of having Emmett featured in commercials for the bakery, which ran on the local-access cable channel. As a result, Emmett had become something of a celebrity in Hillwood.

Another, much more famous, instance of morphologization has occurred in the Romance languages (the modern descendants of Latin). Latin had a noun mens ‘mind’, whose stem was ment- and whose ablative case-form was mente (the Latin ablative was a case-form with miscellaneous uses, most of which we would associate largely with prepositional use in English). Quite early, it became usual in Latin to use the ablative mente with an accompanying adjective to express the state of mind in which an action was performed; as was usual in Latin, the adjective had to agree with its noun mente as feminine singular ablative. We thus find phrases like devota mente ‘with a devout mind’ (i.e., ‘devoutly’) and clara mente ‘with a clear mind’ (i.e., ‘clear-headedly’). At this stage, however, the construction was possible only with adjectives denoting possible states of mind; other adjectives, like those meaning ‘new’ or ‘equal’ or ‘obvious’, could not appear with mente, because the result would have made no sense: something like ‘with an equal mind’ could hardly mean anything. But then speakers began to reinterpret the mente construction as describing not the state of mind of somebody doing something, but the manner in which it was done. Consequently, the construction was extended to a much larger range of adjectives, and new instances appeared, like lenta mente (lenta ‘slow’) and dulce mente (dulce ‘soft’), with the adjectives still in the appropriate grammatical form for agreement with the noun. As a result, the form mente was no longer regarded as a form of mens ‘mind’; it was taken instead as a purely grammatical marker expressing an adverbial function, and it was therefore reduced from a separate word to a suffix. Today this new suffix is the ordinary way of obtaining adverbs of manner in the Romance languages, entirely parallel to English -ly in slowly or carefully, and it can be added to almost any suitable adjective. Thus Spanish, for example, has igualmente ‘equally’ (igual ‘equal’) and absolutamente ‘absolutely’ (absoluta ‘absolute’). Spanish still retains a trace of the ancient pattern: when two such adverbs are conjoined, only the last takes the suffix, and hence Spaniards say lenta y seguramente ‘slowly and surely’, and not *lentamente y seguramente. In French, this is not possible, and a French-speaker must say lentement et sûrement.

What if it is somehow our misunderstood, unacknowledged, looping relationship to our future that makes us ill—or at least, that contributes to our suffering—and not our failure to connect appropriately to our past? Could some neuroses be time loops misrecognized and denied, the way we haunt ourselves from our futures and struggle to reframe it as being about our past history? The next two chapters will examine this question through the lives of two famously precognitive and neurotic writers. Both show strikingly how creativity may travel together with trauma and suffering along the resonating string that connects us to the Not Yet.

Even after his wife puts the knife up on a high shelf, out of the reach of her sleepwalking self, it continues to exert a hypnotic power over her, repeatedly calling forth what seems like some buried male, violent personality. Meanwhile Beverton himself falls into a somnambulistic state and assumes the persona of a victimized woman. After Beverton throws the knife in a snowy field, his wife finds it in her trance and stabs him in the shoulder. After Beverton recovers, a psychologist specializing in hypnotism (a character perhaps based on the doctor Robertson had visited for his real-life difficulties) tries to convince Beverton that he and his wife are acting out the telepathically received story of the famous Caribbean pirate Captain Henry Morgan and his captive sex slave Isobel, but with the sexes reversed. They were somehow picking up the thoughts of “some strong, projective personality—some man or woman thoroughly enthused and interested in the history of the seventeenth-century pirates.”22 Beverton listens to the doctor’s explanation but believes the truth goes deeper: Reincarnation is the real answer. They had actually been these figures in their past lives and at night were playing out their old relationship. Eisenbud noted that “The Sleep Walker” is a pretty weird gender-bender for such a resolutely masculine writer. What he didn’t catch is that Robertson may in this story have been expressing a strange truth about how he secretly understood his own fickle creative gifts. In the volume, Morgan Robertson the Man, one of Robertson’s friends, an artist named J. O’Neill, recalled that the writer believed that he had telepathically acquired the writing gift, the muse, of a young woman he had known years earlier but who had been unable to make anything of her talent due to a lack of “stickativeness.” In other words, Robertson believed his fickle and inconstant “astral helper” or “psychic partner”23 (in the words of another friend, Henry W. Francis) was specifically that of a female. He was effectively appropriating that muse telepathically, or allowing himself to be its vessel, because it was of no use to the woman anyway and he could profit better from it.

What if it is somehow our misunderstood, unacknowledged, looping relationship to our future that makes us ill—or at least, that contributes to our suffering—and not our failure to connect appropriately to our past? Could some neuroses be time loops misrecognized and denied, the way we haunt ourselves from our futures and struggle to reframe it as being about our past history? The next two chapters will examine this question through the lives of two famously precognitive and neurotic writers. Both show strikingly how creativity may travel together with trauma and suffering along the resonating string that connects us to the Not Yet. 12 Fate, Free Will, and Futility — Morgan Robertson’s Tiresias Complex Who can tell us of the power which events possess … Are their workings in the past or in the future; and are the more powerful of them those that are no longer, or those that are not yet? Is it to-day or to-morrow that moulds us? Do we not all spend the greater part of our lives under the shadow of an event that has not yet come to pass? — Maurice Maeterlinck, “The Pre-Destined” (1914) The monkey wrench precognition appears to throw into the problem of free will is an important part of the force field inhibiting serious consideration of it by many people in our culture. It may have been a fear of the inevitability of things prophesied that made the whole subject so anathema to Freud, for example. In a society that places priority on success and the individual’s responsibility for its attainment, it is both taken for granted and a point of fierce conviction that we choose and that our choices are not completely made for us by the inexorable clockwork of matter—the Newtonian inertia that brought the Titanic and the Iceberg, mere inert objects, together. Scientists may pay lip service to determinism—Freud himself did—but the inevitability of material processes due to causes “pushing” from the past somehow feels less restrictive than a block universe in which our fate is already set. The radical predestination implied by time loops may rob “great men” of their ability to claim credit for their successes.

The entry to these events is hideously embarrassing. You’re picked up and driven to the venue, where you join a queue of cars some distance away. Someone comes to the window, checks who’s in the car and speaks into a radio. At the appropriate time, your car is allowed to move forward to the drop-off point, and you get out to a barrage of cameras. You then walk the red carpet, where photographers shout at you to look this way and that. It feels very much like being a lesser prize on a game-show conveyor belt. If someone more famous turns up, you’re abandoned, or if you turn up and the person ahead is less famous than you, they abandon them. It all feels coldly brutal, and I genuinely don’t like it, but it’s all part and parcel of going to those events.

This is a truly political lesson of psychoanalysis: Power—and particularly modern forms of power—works by first appropriating a fundamental negativity of the symbolic order, its constitutive non-relation, while building it into a narrative of a higher Relation. This is what constitutes, puts into place and perpetuates, the relations of domination. And the actual, concrete exploitation is based on, made possible (and fueled) by, this appropriation, this “privatization of the negative.” This is what distinguishes—to take the famous Brechtian example—the robbing of a bank (common theft) from the founding of a bank (a double theft which appropriates the very lever of production and its exploitation).

Finally, some schools also compiled a Kṣudrakāgama (Pāli Khuddaka-Nikāya), the ‘smaller’ or ‘inferior’ collection. Clearly this division was adopted as an appropriate place for items that did not fit easily into the other four divisions, and it therefore has something of a miscellaneous character. The Pāli Sutta Piṭaka happens to be one that did contain such a division, which, in this case, is composed of fifteen different texts. They are very diverse in character, some very late, such as the Buddhavamsa and Cariyāpiṭaka, but others are very early and of great interest for giving a glimpse of the early character of the Buddha’s teaching and activity, at a stage before it had become extensively formulated. Among these early texts one can include the famous Dhammapada, the Sutta Nipāta, the Itivuttaka and the Udāna. The Khuddaka-Nikāya also contains the Thera- and Therī-gāthā, ‘Verses of the Elder Monks and Nuns’ – usually spontaneous verse utterances of the disciples of the Buddha. One of the most popular sections of this Āgama is that of the Jātaka, the stories of the previous lives of the Buddha.

It will always be a pity that the title of this great formation [the 4th Infantry Division] was given to the scattered troops, deployed on policing duty. The matchless, professional excellence of this formation was greatly admired by the Germans - no mean professionals themselves. It is said that General Von Arnim, Commander of the German Forces in Tunis in 1943, insisted on surrendering to the 4th. His caravan is today used by the GOC of 4 Division. No wonder the Chinese were aghast at the poor “performance” of this famous formation. It is ironic that the fame of this formation is more widely known and respected by foreigners than by the Indian people. Perhaps this is the price of segregating the Army from the public, except for the annual pat on the back during the debate on defence appropriations.

And you think it’s appropriate for you to dress like that while you’re in a relationship?

Pontius Pilate in Jesus’s death, instead placing blame on the Jews. The fairness of Pilate and his Roman administration that is displayed in the Christian Bible is not supported by the nonbiblical historical accounts. As Elaine Pagels has noted in The Origin of Satan: “Even Josephus, despite his Roman sympathies, says that the governor displayed contempt for his Jewish subjects, illegally appropriated funds from the Temple treasury, and brutally suppressed unruly crowds. The Jewish Greek historian Philo describes Pilate as a man of ‘ruthless, stubborn and cruel disposition,’ famous for, among other things, ordering ‘frequent executions without trial.

The Scriptures talk a lot about the “head of the corner” or the “chief cornerstone.” God uses the illustration of cornerstones to draw our attention to the Cornerstone He has chosen to build His house. Therefore thus saith the Lord GOD, Behold, I lay in Zion for a foundation a stone, a tried stone, a precious corner stone, a sure foundation: he that believeth shall not make haste. Isaiah 28:16 Typically, a cornerstone is the first stone to be set in place whenever a structure is built, and all other stones in the building are aligned to it. Cornerstones mark the beginning point of construction, unite walls at intersections, and determine the positioning of the building. They support and set the reference point for how an entire framework comes together. Cornerstones often represent “the nominal starting place in the construction of a monumental building, usually carved with the date and laid in place with appropriate ceremonies.”20 You may have seen the famous picture of George Washington laying the cornerstone of the U.S. Capitol building. These stones can be symbolic or ceremonial in nature, and many times, they are inscribed with information about the building’s importance and why it was built. Be it known unto you all, and to all the people of Israel, that by the name of Jesus Christ of Nazareth, whom ye crucified, whom God raised from the dead, even by him doth this man stand here before you whole. This is the stone which was set at nought of you builders, which is become the head of the corner. Neither is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved. Acts 4:10-12 Now therefore ye are no more strangers and foreigners, but fellowcitizens with the saints, and of the household of God; And are built upon the foundation of the apostles and prophets, Jesus Christ himself being the chief corner stone; In whom all the building fitly framed together groweth unto an holy temple in the Lord: Ephesians 2:19-21

. . . it would seem to be a fact that writers stamp themselves upon their possessions more indelibly than other people. Of artistic taste they may have none; but they seem always to possess a much rarer and more interesting gift—a faculty for housing themselves appropriately, for making the table, the chair, the curtain, the carpet into their own image.

The archaic pantheons—Norse, Egyptian, Greek—all have a god dedicated to the dark art of gossip. The book of Proverbs treats the topic thoroughly; one verse from many cautions that “a man who lacks judgment derides his neighbor, but a man of understanding holds his tongue.” “Judge not lest you be judged” is one of the most famous phrases in the whole Bible. Several sources maintain that the Romans enshrined a goddess named “Rumor”—a winged demon with a hundred eyes and a hundred mouths who spoke only the most hurtful side of the truth. Appropriately enough, I can’t seem to confirm this.