Art Of War Best Quotes

The Genius Of The Crowd there is enough treachery, hatred violence absurdity in the average human being to supply any given army on any given day and the best at murder are those who preach against it and the best at hate are those who preach love and the best at war finally are those who preach peace those who preach god, need god those who preach peace do not have peace those who preach peace do not have love beware the preachers beware the knowers beware those who are always reading books beware those who either detest poverty or are proud of it beware those quick to praise for they need praise in return beware those who are quick to censor they are afraid of what they do not know beware those who seek constant crowds for they are nothing alone beware the average man the average woman beware their love, their love is average seeks average but there is genius in their hatred there is enough genius in their hatred to kill you to kill anybody not wanting solitude not understanding solitude they will attempt to destroy anything that differs from their own not being able to create art they will not understand art they will consider their failure as creators only as a failure of the world not being able to love fully they will believe your love incomplete and then they will hate you and their hatred will be perfect like a shining diamond like a knife like a mountain like a tiger like hemlock their finest art

Death Be Not Proud Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those, whom thou think'st thou dost overthrow, Die not, poor Death, nor yet canst thou kill me. From rest and sleep, which but thy picture[s] be, Much pleasure, then from thee much more must flow, And soonest our best men with thee do go, Rest of their bones, and soul's delivery. Thou'rt slave to Fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy, or charms can make us sleep as well, And better than thy stroke ; why swell'st thou then? One short sleep past, we wake eternally, And Death shall be no more; Death, thou shalt die.

It is best to keep one’s own state intact; to crush the enemy’s state is only second best.

The best and only thing that one artist can do for another is to serve as an example and an inspiration.

In the practical art of war, the best thing of all is to take the enemy's country whole and intact; to shatter and destroy it is not so good. So, too, it is better to recapture an army entire than to destroy it, to capture a regiment, a detachment or a company entire than to destroy them.

When an invading force crosses a river in its onward march, do not advance to meet it in mid-stream.  It will be best to let half the army get across, and then deliver your attack.

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

The only way to teach focus is to present the eye with opportunities for steady perception—best supplied by the contemplation of art. Looking at art requires stillness and receptivity, which realign our senses and produce a magical tranquillity.

Sun Tzu said: In the practical art of war, the best thing of all is to take the enemy's country whole and intact; to shatter and destroy it is not so good. So, too, it is better to capture an army entire than to destroy it, to capture a regiment, a detachment or a company entire than to destroy them.

Weapons are inauspicious instruments, not the tools of the enlightened. When there is no choice but to use them, it is best to be calm and free from greed, and not celebrate victory. Those who celebrate victory are bloodthirsty, and the bloodthirsty cannot have their way with the world.

So if I asked you about art, you'd probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life's work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I'll bet you can't tell me what it smells like in the Sistine Chapel. You've never actually stood there and looked up at that beautiful ceiling; seen that. If I ask you about women, you'd probably give me a syllabus about your personal favorites. You may have even been laid a few times. But you can't tell me what it feels like to wake up next to a woman and feel truly happy. You're a tough kid. And I'd ask you about war, you'd probably throw Shakespeare at me, right, "once more unto the breach dear friends." But you've never been near one. You've never held your best friend's head in your lap, watch him gasp his last breath looking to you for help. I'd ask you about love, you'd probably quote me a sonnet. But you've never looked at a woman and been totally vulnerable. Known someone that could level you with her eyes, feeling like God put an angel on earth just for you. Who could rescue you from the depths of hell. And you wouldn't know what it's like to be her angel, to have that love for her, be there forever, through anything, through cancer. And you wouldn't know about sleeping sitting up in the hospital room for two months, holding her hand, because the doctors could see in your eyes, that the terms "visiting hours" don't apply to you. You don't know about real loss, 'cause it only occurs when you've loved something more than you love yourself. And I doubt you've ever dared to love anybody that much. And look at you... I don't see an intelligent, confident man... I see a cocky, scared shitless kid. But you're a genius Will. No one denies that. No one could possibly understand the depths of you. But you presume to know everything about me because you saw a painting of mine, and you ripped my fucking life apart. You're an orphan right? [Will nods] Sean: You think I know the first thing about how hard your life has been, how you feel, who you are, because I read Oliver Twist? Does that encapsulate you? Personally... I don't give a shit about all that, because you know what, I can't learn anything from you, I can't read in some fuckin' book. Unless you want to talk about you, who you are. Then I'm fascinated. I'm in. But you don't want to do that do you sport? You're terrified of what you might say. Your move, chief.

prohibit omens altogether. You can best predict your future by controlling it yourself, not by trusting luck or fate to control it.

The book was The Art of War by Sun Tzu. Percy had never heard of it, but he could guess who sent it. The letter read: Good job, kid. A real man’s best weapon is his mind. This was your mom’s favorite book. Give it a read. P.S.—I hope your friend Percy has learned some respect for me. “Wow.” Percy handed back the book. “Maybe Mars is different than Ares. I don’t think Ares can read.

Those who win every battle are not really skillful—those who render others’ armies helpless without fighting are the best of all.

Politics is the art of achieving the maximum amount of freedom for individuals that is consistent with the maintenance of social order,

III. ATTACK BY STRATAGEM 1. Sun Tzu said: In the practical art of war, the best thing of all is to take the enemy's country whole and intact; to shatter and destroy it is not so good. So, too, it is better to recapture an army entire than to destroy it, to capture a regiment, a detachment or a company entire than to destroy them. 2. Hence to fight and conquer in all your battles is not supreme excellence; supreme excellence consists in breaking the enemy's resistance without fighting.

You are 'the best of cut-throats:'--do not start; The phrase is Shakespeare's, and not misapplied:-- War's a brain-spattering, windpipe-slitting art, Unless her cause by Right be sanctified. If you have acted once a generous part, The World, not the World's masters, will decide, And I shall be delighted to learn who, Save you and yours, have gained by Waterloo? I am no flatterer--you've supped full of flattery: They say you like it too--'tis no great wonder: He whose whole life has been assault and battery, At last may get a little tired of thunder; And swallowing eulogy much more than satire, he May like being praised for every lucky blunder; Called 'Saviour of the Nations'--not yet saved, And Europe's Liberator--still enslaved. I've done. Now go and dine from off the plate Presented by the Prince of the Brazils, And send the sentinel before your gate A slice or two from your luxurious meals: He fought, but has not fed so well of late...

.... So Cu Chulainn asked and he asked, and at length he learned that the best teacher of the arts of war was a woman, Scathach, a strange creature who lived on a tiny island off the coast of Alba." "A woman?" someone echoed scornfully. "How could that be?" "Ah, well, this was no ordinary woman, as our hero soon found out for himself. When he came to the wild shore of Alba and looked across the raging waters to the island where she lived with her warrior women, he saw that there could be a difficulty before he even set foot there. For the only way across was by means of a high, narrow bridge, just wide enough for one man to walk on. And the instant he set his foot upon its span, the bridge began to shake and flex and bounce up and down, all along its considerable length, so that anyone foolish enough to venture farther along it would straightaway be tossed down onto the knife-sharp rocks or into the boiling surf." "Why didn't he use a boat?" asked Spider with a perplexed frown. "Didn't you hear what Liadan said?" Gull responded with derision. "Raging waters? Boiling surf? No boat could have crossed that sea, I'd wager.

Her joyful spirit would bring laughter and happiness to anyone in her life with the same natural ease that a rose blooms and sheds its perfume.

It is not the best thing to win every battle one is engaged in; the best thing is to win without planning to win. This is perfect victory.

Under ordinary circumstances, bad art naturally gets sorted out and disappears. That is how history works when it is left alone to do its job. The paradox of the culture wars is that they have made celebrities out of some artists who would otherwise vanish. Censorship has become a growth industry. This may be the best argument, in the end, for unfettered freedom of expression.

Boyd, borrowing from Sun Tzu, said the best commander is the one who wins while avoiding battle. The intent is to shatter cohesion, produce paralysis, and bring about collapse of the adversary by generating confusion, disorder, panic, and chaos. Boyd said war is organic and compared his technique to clipping the nerves, muscles, and tendons of an enemy, thus reducing him to jelly. As Boyd

My Favorite Kid President Quotes “Create something that will make the world more awesome.” “Treat everybody like it’s their birthday.” “If you can’t think of anything nice to say, you’re not thinking hard enough.” “Be somebody who makes everybody feel like a somebody.” “Give the world a reason to dance!” “Us humans are capable of war and sadness and other terrible stuff. But also CUPCAKES!” “Love changes everything so fill the world with it!” “Grown-ups who dream are the best kinds of grown-ups.” “Don’t be IN a party. BE a party.” And my personal favorite, “Mail someone a corn dog.

We must also be careful to educate our sons and daughters when children are born to the women whom we’ve taken as wives. Striving to set the best example we can for our children will make us act even more nobly.

It can pay off, being a hack. Given the depraved state of American culture, a slick dude can make millions being a hack. But even if you succeed, you lose, because you've sold out your Muse, and your Muse is you, the best part of yourself, where your finest and only true work comes from.

The Genius Of The Crowd there is enough treachery, hatred violence absurdity in the average human being to supply any given army on any given day and the best at murder are those who preach against it and the best at hate are those who preach love and the best at war finally are those who preach peace those who preach god, need god those who preach peace do not have peace those who preach peace do not have love beware the preachers beware the knowers beware those who are always reading books beware those who either detest poverty or are proud of it beware those quick to praise for they need praise in return beware those who are quick to censor they are afraid of what they do not know beware those who seek constant crowds for they are nothing alone beware the average man the average woman beware their love, their love is average seeks average but there is genius in their hatred there is enough genius in their hatred to kill you to kill anybody not wanting solitude not understanding solitude they will attempt to destroy anything that differs from their own not being able to create art they will not understand art they will consider their failure as creators only as a failure of the world not being able to love fully they will believe your love incomplete and then they will hate you and their hatred will be perfect like a shining diamond like a knife like a mountain like a tiger like hemlock their finest art

Wonder of time,' quoth she, 'this is my spite, That, thou being dead, the day should yet be light. 'Since thou art dead, lo, here I prophesy: Sorrow on love hereafter shall attend: It shall be waited on with jealousy, Find sweet beginning, but unsavoury end, Ne'er settled equally, but high or low, That all love's pleasure shall not match his woe. 'It shall be fickle, false and full of fraud, Bud and be blasted in a breathing-while; The bottom poison, and the top o'erstraw'd With sweets that shall the truest sight beguile: The strongest body shall it make most weak, Strike the wise dumb and teach the fool to speak. 'It shall be sparing and too full of riot, Teaching decrepit age to tread the measures; The staring ruffian shall it keep in quiet, Pluck down the rich, enrich the poor with treasures; It shall be raging-mad and silly-mild, Make the young old, the old become a child. 'It shall suspect where is no cause of fear; It shall not fear where it should most mistrust; It shall be merciful and too severe, And most deceiving when it seems most just; Perverse it shall be where it shows most toward, Put fear to valour, courage to the coward. 'It shall be cause of war and dire events, And set dissension 'twixt the son and sire; Subject and servile to all discontents, As dry combustious matter is to fire: Sith in his prime Death doth my love destroy, They that love best their loves shall not enjoy.

The Arts are the only acceptable theatre of war for peace.

In the practical art of war, the best thing of all is to take the enemy’s country whole and intact; to shatter and destroy it is not so good.

All of our heroes will eventually disappoint us and let us down, one way or another. Best remember that.

When an invading force crosses a river in its onward march, do not advance to meet it in mid-stream. It will be best to let half the army get across, and then deliver your attack.

In the practical art of war, the best thing of all is to take the enemy's country whole and intact; to shatter and destroy it is not so good.

The Art of War did not provide a single route to victory and recognized that while battles were best avoided they sometimes had to be fought.

To stop the drug traffic is not the best way to prevent people from using drugs. The best way is to practice the Fifth Precept and to help others practice. Consuming mindfully is the intelligent way to stop ingesting toxins into our consciousness and prevent the malaise from becoming overwhelming. Learning the art of touching and ingesting refreshing, nourishing, and healing elements is the way to restore our balance and transform the pain and loneliness that are already in us. To do this, we have to practice together. The practice of mindful consuming should become a national policy. It should be considered true peace education... Those who are destroying themselves, their families, and their society by intoxicating themselves are not doing it intentionally. Their pain and loneliness are overwhelming, and they want to escape. They need to be helped, not punished. Only understanding and compassion on a collective level can liberate us (78-79).

Let’s banish these misleaders from among us, and when we do, we shouldn’t fill their places from our Persian peerage alone. As our journey continues, we’re going to be joined by many races of men. Just as we choose our horses from the best stocks, not limiting ourselves to our national breed, we should choose the best men to join us in the work of command, regardless of their country or color.” A

The hack is like the politician who consults the polls before he takes a position. He's a demagogue. He panders. It can pay off, being a hack. Given the depraved state of American culture, a slick dude can make millions being a hack. But even if you succeed, you lose, because you've sold out your Muse, and your Muse is you, the best part of yourself, where your finest and only true work comes from. I

Moreover, The Art of War ends with a quiet coda whose firm assertion is too often overlooked: that even the most impressive empires fall as soon as their rulers, by their careless conduct, lose or cast aside the best men in their employ.

Thus the highest form of generalship is to balk the enemy’s plans; the next best is to prevent the junction of the enemy’s forces; the next in order is to attack the enemy’s army in the field; and the worst policy of all is to besiege walled cities.

The general who in advancing does not seek personal fame, and in withdrawing is not concerned with avoiding punishment, but whose only purpose is to protect the people and promote the best interests of his sovereign, is the precious jewel of the state.

One of the best books I’ve ever read is called The War of Art by Steven Pressfield. A quote from that book goes, “The Principle of Priority states (a) you must know the difference between what is urgent and what is important, and (b) you must do what’s important first.

You're just a boy. You don't have the faintest idea what you're talking about. You've never been out of Boston. So if I asked you about art you could give me the skinny on every art book ever written...Michelangelo? You know a lot about him I bet. Life's work, criticisms, political aspirations. But you couldn't tell me what it smells like in the Sistine Chapel. You've never stood there and looked up at that beautiful ceiling. And if I asked you about women I'm sure you could give me a syllabus of your personal favorites, and maybe you've been laid a few times too. But you couldn't tell me how it feels to wake up next to a woman and be truly happy. If I asked you about war you could refer me to a bevy of fictional and non-fictional material, but you've never been in one. You've never held your best friend's head in your lap and watched him draw his last breath, looking to you for help. And if I asked you about love I'd get a sonnet, but you've never looked at a woman and been truly vulnerable. Known that someone could kill you with a look. That someone could rescue you from grief. That God had put an angel on Earth just for you. And you wouldn't know how it felt to be her angel. To have the love be there for her forever. Through anything, through cancer. You wouldn't know about sleeping sitting up in a hospital room for two months holding her hand and not leaving because the doctors could see in your eyes that the term "visiting hours" didn't apply to you. And you wouldn't know about real loss, because that only occurs when you lose something you love more than yourself, and you've never dared to love anything that much. I look at you and I don't see an intelligent confident man, I don't see a peer, and I don't see my equal. I see a boy.

Once there was a dictator. He drove millions to various kinds of deaths, by war, in prison, or simply in harsh deserts farming their lives away. He destroyed temples, burned books, and ruined the art of calligraphy. He wrote terrible poetry and forced everyone to learn it, so destroying the literary taste of one quarter of humanity. He remained a warrior even as Chairman. He was at his best as a warrior, because as a warrior, he was fighting for his people, dreaming for them. After that, he only ground them down. But I forgive him for saying one beautiful thing: 'Women hold up half the sky.' -- Chairman Mao Tse Tung

3.    Thus the highest form of generalship is to balk the enemy’s plans; [Perhaps the word “balk” falls short of expressing the full force of the Chinese word, which implies not an attitude of defense, whereby one might be content to foil the enemy’s stratagems one after another, but an active policy of counter-attack. Ho Shih puts this very clearly in his note: “When the enemy has made a plan of attack against us, we must anticipate him by delivering our own attack first.”] the next best is to prevent the junction of the enemy’s forces; [Isolating him from his allies. We must not forget that Sun Tzu, in speaking of hostilities, always has in mind the numerous states or principalities into which the China of his day was split up.] the next in order is to attack the enemy’s army in the field; [When he is already at full strength.] and the worst policy of all is to besiege walled cities. 4.    The rule is, not to besiege walled cities if it can possibly be avoided.

The awakening artist must be ruthless, not only with herself but with others. Once you make your break, you can't turn around for your buddy who catches his trouser leg on the barbed wire. The best thing you can do for that friend (and he'd tell you this himself, if he really is your friend) is to get over the wall and keep motating.

When we teach tactics in the opposite order, that is, the mechanics ahead of the thinking, too often we produce, instead of soldiers, structured mechanics who find it difficult to think without rules. The art of war has no traffic with rules. Yet I have often seen students reject their best tactical ideas because they could not fit them into the format.

These characters might not be interesting to anyone else but they're absolutely fascinating to us. They are us. Meaner, smarter, sexier versions of ourselves. It's fun to be with them because they're wrestling with the same issue that has its hooks into us. They're our soul mates, our lovers, our best friends. Even the villains. Especially the villains.

Small-business leaders need all the friends we can get. It’s much better business to develop loyal associates and friends, and even develop exclusive relationships, when possible, so the best performers won’t provide services or supplies to your competitors. Make enemies of them, and they’ll want to help your competitors. They’ll even be driven to do so.

[The Chinese here is tricky and a certain key word in the context it is used defies the best efforts of the translator. Tu Mu defines this word as “the measurement or estimation of distance.” But this meaning does not quite fit the illustrative simile in ss. 15. Applying this definition to the falcon, it seems to me to denote that instinct of SELF RESTRAINT which keeps the bird from swooping on its quarry until the right moment, together with the power of judging when the right moment has arrived. The analogous quality in soldiers is the highly important one of being able to reserve their fire until the very instant at which it will be most effective. When the “Victory” went into action at Trafalgar at hardly more than drifting pace, she was for several minutes exposed to a storm of shot and shell before replying with a single gun. Nelson coolly waited until he was within close range, when the broadside he brought to bear worked fearful havoc on the enemy’s nearest ships.] 14.  Therefore the good fighter will be terrible in his onset, and prompt in his decision. [The word “decision” would have reference to the measurement of distance mentioned above, letting the enemy get near before striking. But I cannot help thinking that Sun Tzu meant to use the word in a figurative sense comparable to our own idiom “short and sharp.” Cf. Wang Hsi’s note, which after describing the falcon’s mode of attack, proceeds: “This is just how the ‘psychological moment’ should be seized in war.”]

.... I realized that my mother had taught me above all to become as invisible as possible, or at least to transform myself into a shadow so that no one would attack me, to pass through walls and melt into my surroundings. She insisted that in the art of war, the first lesson consisted of mastering one's disappearance, which was at the same time the best attack and the best defense.

The natural formation of the country is the soldier’s best ally, but a power of estimating the adversary, of controlling the forces of victory, and of shrewdly calculating difficulties, dangers, and distances, constitutes the test of a great general. He, who knows these things, and in fighting, puts his knowledge into practice, will win his battles. He, who knows them not, nor practices them, will surely be defeated.

Artichokes Until you had been the last ones sitting in the cafe on the corner and she has kissed the dark rum from the rim of your glass and schooled you in the art of eating artichokes until then, you are not yet a woman. Until you put soft leaf to lip touch tongue to flesh, bite the lobe, swallow the juice she says will purify you until you open it up, sigh at the color, see it’s very middle and learn what fingers are best at until you reach further still into that thick, hot heart life has not yet started. Before you had been promised. Before she is a liar. Before you are dismantled, fixed and broke again you are not yet a lover. Remember on the right night and under the right light any idea can seem like a good one and love love is mostly ill-advised but always brave. The most important thing to do is not to worry. The lines on your face will never stop the sun from coming up. Your tears cannot affect the weather. There are wars going on. The one in your body is the only one you can be sure of losing or winning, then losing again. You drink more water than rum these days, don’t you? But you drink to her memory, don’t you? And you only take artichokes in salad. Never whole. Not in a cafe on a dusky street at midnight. Not with her. Never with her, or anyone like her.

The more I know the human being, the more I cling to animal nature. Mention poem 2013 Since its beginnings, the human being has been a complex and enigmatic being, capable of great achievements and feats, and at the same time, of the most cruel and vile acts. There is no doubt that our species is one of the most evolved and sophisticated of the planet, but at what cost? What is behind our apparent superiority? When we observe human behavior, we can see that it hides a mixture of animal instincts and rational thoughts. Although human beings take pride in our ability for critical thinking and reflection, We are also emotional, impulsive and visceral beings. And it is precisely this duality that makes us so different from animals. that cohabit this planet with us. It is often difficult for us to understand the nature of animals, because we cannot access their internal world. However, what we can say is that animals are transparent beings, His actions are always a consequence of his instincts, not from premeditated thoughts or complex emotions. For animals, living is following their instinct, something that allows them to act quickly and effectively in situations of danger or threat. Animals are beings in balance with their environment, They don't feel the need to constantly change, nor to think beyond the here and now. On the other hand, we have human beings, beings capable of conceiving abstract thoughts, create works of art, invent technologies and, at the same time, of destroying the environment, oppressing other human beings and commit acts of extreme cruelty. The human being is a complex, contradictory being, capable of loving and hating, forgiving and punishing, healing and destroying. We are creatures of light and darkness, in a constant search for balance between both parties. But what is behind our duality as human beings? Why are we capable of the worst acts of destruction and cruelty? If we look back at the history of humanity, we can see that our genetic patterns are impregnated of violence, war and resentment. History has been a constant parade of wars and conflicts, each one more brutal than the last. This being the only way in which many cultures they have found to impose their ideas or consolidate power. It is precisely here that the idea is born that the creators of humanity They have intoxicated us with the yoke of evil. Who are these forgers? They are the same societies, cultures, religions, policies, which have used violence, war and resentment as a tool to impose their desires and ideals on others. This is the curse that we have dragged like chains since long ago, that of a genetic pattern that drags us towards violence and war. It is true that, as human beings, we can choose our own paths, our own decisions, and not fall into the trap of cruelty and evil. However, it is also true that we carry within us an ancestral burden that is difficult to overcome. What will the most advanced civilizations in the universe think of us? Will we be violent and hateful beings for them? Or will we be beings like animals, in balance with our environment? The answer is not easy, since it remains an unknown. if we are able to overcome our animal instincts and embrace only the best of our humanity. The key to this lies in becoming aware of our own duality, to recognize that we carry both light and darkness within us, and make a real effort to choose the best of ourselves, instead of letting ourselves be carried away by our internal evil.

I content myself with smiling up at him and saying, “In the midst of chaos, there is also opportunity.” Callum stares at me blankly. “What . . . what the fuck are you talking about? Does that mean you’re going to try to make the best of this mess?” “Sure,” I say. “What else can I do?” Actually, it’s a quote from The Art of War. Here’s another one I like: “Let your plans be dark and impenetrable as night, and when you move, fall like a thunderbolt.

Even with the best doctors, engineers, lawyers and police, you can only lead a dull, meaningless life without the many masterpieces of art to bring you joy, tickle your brain and keep your soul fresh. Art is the magic potion that pacifies broken hearts and motivates us to love life. Without Art we will only have hate, intolerance, dictators and wars. The most powerful army will never be able to build a healthy society without good art. Art is the freshest breath of life, it is the soul of life.

And can there be anything better for the interests of the State than that the men and women of a State should be as good as possible? There can be nothing better. And this is what the arts of music and gymnastic, when present in such manner as we have described, will accomplish? Certainly. Then we have made an enactment not only possible but in the highest degree beneficial to the State? True. Then let the wives of our guardians strip, for their virtue will be their robe, and let them share in the toils of war and the defence of their country; only in the distribution of labours the lighter are to be assigned to the women, who are the weaker natures, but in other respects their duties are to be the same. And as for the man who laughs at naked women exercising their bodies from the best of motives, in his laughter he is plucking 'A fruit of unripe wisdom,' and he himself is ignorant of what he is laughing at, or what he is about;—for that is, and ever will be, the best of sayings, That the useful is the noble and the hurtful is the base. Very

In interviews with riders that I've read and in conversations that I've had with them, the same thing always comes up: the best part was the suffering. In Amsterdam I once trained with a Canadian rider who was living in Holland. A notorious creampuff: in the sterile art of track racing he was Canadian champion in at least six disciplines, but when it came to toughing it out on the road he didn't have the character. The sky turned black, the water in the ditch rippled, a heavy storm broke loose. The Canadian sat up straight, raised his arms to heaven and shouted: 'Rain! Soak me! Ooh, rain, soak me, make me wet!' How can that be: suffering is suffering, isn't it? In 1910, Milan—San Remo was won by a rider who spent half an hour in a mountain hut, hiding from a snowstorm. Man, did he suffer! In 1919, Brussels—Amiens was won by a rider who rode the last forty kilometers with a flat front tire. Talk about suffering! He arrived at 11.30 at night, with a ninety-minute lead on the only other two riders who finished the race. The day had been like night, trees had whipped back and forth, farmers were blown back into their barns, there were hailstones, bomb craters from the war, crossroads where the gendarmes had run away, and riders had to climb onto one another's shoulders to wipe clean the muddied road signs. Oh, to have been a rider then. Because after the finish all the suffering turns into memories of pleasure, and the greater the suffering, the greater the pleasure. That is Nature's payback to riders for the homage they pay her by suffering. Velvet pillows, safari parks, sunglasses: people have become woolly mice. They still have bodies that can walk for five days and four nights through a desert of snow, without food, but they accept praise for having taken a one-hour bicycle ride. 'Good for you.' Instead of expressing their gratitude for the rain by getting wet, people walk around with umbrellas. Nature is an old lay with few suitors these days, and those who wish to make use of her charms she rewards passionately. That's why there are riders. Suffering you need; literature is baloney.

MANO: There's no question in my mind that we've always felt, in the heart of our Western, Christian culture, that Jesus was very much female. That is why the representations of Jesus with long hair have always been predominant in art. The Virgin Mary was later presented as a harmless sort of woman to whom we can address our need for a maternal outlet in prayer, as a safer way of dealing with the fact that Jesus was as much a woman as a man, particularly when he died. DOOR: You said that if men don't overcome their wanting of women, society will crack. MANO: We are coming to a point where the genders are clumsily engaging in civil war with each other. There's a lot of unpleasantness in the land. Men feel terribly threatened. Women have been crucified for many years, so they understand it and have their axes to grind as well. The truth of the matter is, Jesus on the cross is the female being exploited in every which way. I mentioned intercourse being, at its best, an act of penetration, but there are many other ways in which women have been sacrificed, whether from childbirth or being sold as wives or whatever, through history. So when the male S&M devotee binds a woman to a cross, he has to realize, if he's a Christian-- DOOR: Uh, just how many Christian S&M devotees are there? MANO: Even if he's not a Christian, he ought to realize that he is essentially binding Jesus again, because Jesus contains in him the female--very, very strongly--but almost mystically hidden, I think, because the truth is too painful to deal with. I don't know. I've never heard anyone else say what I'm saying now.

Muhammad Iqbal, who had spent three rewarding years as a student in Europe in the first decade of the twentieth century, now wrote of it in the satirical tradition of the Illahabadi: The West develops wonderful new skills In this as in so many other fields Its submarines are crocodiles Its bombers rain destruction from the skies Its gases so obscure the sky They blind the sun’s world-seeing eye Dispatch this old fool to the West To learn the art of killing fast- and best On his previous trips to the West, Liang, like Tagore and Iqbal, had been a qualified admirer. During his longest sojourn there, he began to develop grave doubts about the civilization that had so blithely thrown away the fruits of progress and rationalism and sunk into barbarism. The ‘materialist’ West had managed to subdue nature through science and technology and created a Darwinian universe of conflict between individuals, classes and nations. But to what effect? Its materialistic people, constantly desiring ever-new things and constantly being frustrated, were worn out by war, were afflicted with insecurity, and were as far from happiness as ever.

You come in the day of destiny, Barbara, born to the air of Mars: The greater glory you shall see And the greater peace, beyond these wars. In other days within this isle, As in a temple, men knew peace; And won the world to peace a while Till rose the pride of Rome and Greece,-- The pride of art, the pride of power, The cruel empire of the mind: Withered the light like a summer flower, And hearts went cold and souls went blind; And, groping, men took other gifts, And thought them the best: But the light lives in the soul that lifts The quiet love above the rest.

Sandy was fascinated by the economy of Teddy Lloyd's method, as she had been four years earlier by Miss Brodie''s variations on her love story, when she had attached to her first, war-time lover the attributes of the art master and the singing master who had then newly entered her orbit. Teddy Lloyd's method of presentation was similar, it was economical, and it always seemed afterwards to Sandy that where there was a choice of various courses, the most economical was the best, and that the course to be taken was the most expedient and most suitable at the time for all the objects in hand.

Generally in war the best policy is to take a state intact; to ruin it is inferior to this. To capture the enemy's army is better than to destroy it; to take intact a battalion, a company or a five-man squad is better than to destroy them. For to win one hundred victories in one hundred battles is not the acme of skill. To subdue the enemy without fighting is the acme of skill. Thus, what is of supreme importance in war is to attack the enemy's strategy. Next best is to disrupt his alliances; do not allow your enemies to get together. The next best is to attack his army. If you cannot nip his plans in the bud, or disrupt his alliances when they are about to be consummated, sharpen your weapons to gain the victory.

This is a political age. War, Fascism, concentration camps, rubber truncheons, atomic bombs, etc., are what we daily think about, and therefore to a great extent what we write about, even when we do not name them openly. We cannot help this. When you are on a sinking ship, your thoughts will be about sinking ships. But not only is our subject-matter narrowed, but our whole attitude towards literature is coloured by loyalties which we at least intermittently realise to be non-literary. I often have the feeling that even at the best of times literary criticism is fraudulent, since in the absence of any accepted standards whatever—any external reference which can give meaning to the statement that such and such a book is “good” or “bad”—every literary judgement consists in trumping up a set of rules to justify an instinctive preference. One’s real reaction to a book, when one has a reaction at all, is usually “I like this book” or “I don’t like it,” and what follows is a rationalisation. But “I like this book” is not, I think, a non-literary reaction; the non-literary reaction is “This book is on my side, and therefore I must discover merits in it.” Of course, when one praises a book for political reasons one may be emotionally sincere, in the sense that one does feel strong approval of it, but also it often happens that party solidarity demands a plain lie. Anyone used to reviewing books for political periodicals is well aware of this. In general, if you are writing for a paper that you are in agreement with, you sin by commission, and if for a paper of the opposite stamp, by omission.

(Corinthians:) In the face of such an enemy, Lacedaemonians, you persist in doing nothing. You do not see that peace is best secured by those who use their strength justly, but whose attitude shows that they have no intention of submitting to wrong. Justice with you seems to consist in giving no annoyance to others and in defending yourselves only against positive injury. But this policy would hardly be successful, even if your neighbours were like yourselves; and in the present case, as we pointed out just now, your ways compared with theirs are old-fashioned. And, as in the arts, so also in politics, the new must always prevail over the old.In settled times the traditions of government should be observed: but when circumstances are changing and men are compelled to meet them, much originality is required. The Athenians have had a wider experience, and therefore the administration of their state unlike yours has been greatly reformed. (Book 1 Chapter 71.1-3)

Bored with Pisit today, I switch to our public radio channel, where the renowned and deeply reverend Phra Titapika is lecturing on Dependent Origination. Not everyone’s cup of chocolate, I agree (this is not the most popular show in Thailand), but the doctrine is at the heart of Buddhism. You see, dear reader (speaking frankly, without any intention to offend), you are a ramshackle collection of coincidences held together by a desperate and irrational clinging, there is no center at all, everything depends on everything else, your body depends on the environment, your thoughts depend on whatever junk floats in from the media, your emotions are largely from the reptilian end of your DNA, your intellect is a chemical computer that can’t add up a zillionth as fast as a pocket calculator, and even your best side is a superficial piece of social programming that will fall apart just as soon as your spouse leaves with the kids and the money in the joint account, or the economy starts to fail and you get the sack, or you get conscripted into some idiot’s war, or they give you the news about your brain tumor. To name this amorphous morass of self-pity, vanity, and despair self is not only the height of hubris, it is also proof (if any were needed) that we are above all a delusional species. (We are in a trance from birth to death.) Prick the balloon, and what do you get? Emptiness. It’s not only us-this radical doctrine applies to the whole of the sentient world. In a bumper sticker: The fear of letting go prevents you from letting go of the fear of letting go. Here’s the good Phra in fine fettle today: “Take a snail, for example. Consider what brooding overweening self-centered passion got it into that state. Can you see the rage of a snail? The frustration of a cockroach? The ego of an ant? If you can, then you are close to enlightenment.” Like I say, not everyone’s cup of miso. Come to think of it, I do believe I prefer Pisit, but the Phra does have a point: take two steps in the divine art of Buddhist meditation, and you will find yourself on a planet you no longer recognize. Those needs and fears you thought were the very bones of your being turn out to be no more than bugs in your software. (Even the certainty of death gets nuanced.) You’ll find no meaning there. So where?

ACTION FREES YOU FROM IDEOLOGY “The world is always close to catastrophe. But it seems to be closer now. Seeing this approaching catastrophe, most of us take shelter in idea. We think that this catastrophe, this crisis, can be solved by an ideology. Ideology is always an impediment to direct relationship, which prevents action.” Jiddu Krishnamurti Action immediately frees you from your ideologies. The switch is one of impossible (and invisible) reconciliation of warring ideas to total harmony. Focusing on the work or situation before you as it is makes it clear. The most obvious choice becomes clear as you pay attention. When you let go of an idea of how things should be then you open yourself up to the best current choice. This is easy to perform in work or sports, provided we have some experience with them. It’s more difficult in relationships with other people. Our expectations for how our parents, significant others, or bosses should behave makes us blind to how we could act given the current circumstances. We shouldn’t apply romantic ideals to others if we wish to connect with them. (Even the expectation that they lift their expectations should be lifted.)

4. The general who thoroughly understands the advantages that accompany variation of tactics knows how to handle his troops. 5. The general who does not understand these, may be well acquainted with the configuration of the country, yet he will not be able to turn his knowledge to practical account. 6. So, the student of war who is unversed in the art of war of varying his plans, even though he be acquainted with the Five Advantages, will fail to make the best use of his men. 7. Hence in the wise leader’s plans, considerations of advantage and of disadvantage will be blended together. 8. If our expectation of advantage be tempered in this way, we may succeed in accomplishing the essential part of our schemes. 9. If, on the other hand, in the midst of difficulties we are always ready to seize an advantage, we may extricate ourselves from misfortune. 10. Reduce the hostile chiefs by inflicting damage on them; and make trouble for them, and keep them constantly engaged; hold out specious allurements, and make them rush to any given point. 11. The art of war teaches us to rely not on the likelihood of the enemy’s not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable.

So why bother investing in one's memory in the age of externalized memories? The best answer I can give is the one that I received unwittingly from EP, whose memory had been so completely lost that he could not place himself rin time or space, or relative to other people. That is: How we perceive the world and how we act in it are products of how and what we remember. We're all just a bundle of of habits shaped by our memories. And to the extent that we control our lives, we do so by gradually altering those habits, which is to say the networks or our memory. No lasting joke, invention, insight, or work of art was ever produced by an external memory. Not yet, at least. Or ability to find humour in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values ad source of our character. [...] That's what Ed had been trying to impart to me from the beginning: that memory training is not just fro the sake of performing partyb tricks; it's about nurturing something profoundly and essentially human.

In the absence of expert [senior military] advice, we have seen each successive administration fail in the business of strategy - yielding a United States twice as rich as the Soviet Union but much less strong. Only the manner of the failure has changed. In the 1960s, under Robert S. McNamara, we witnessed the wholesale substitution of civilian mathematical analysis for military expertise. The new breed of the "systems analysts" introduced new standards of intellectual discipline and greatly improved bookkeeping methods, but also a trained incapacity to understand the most important aspects of military power, which happens to be nonmeasurable. Because morale is nonmeasurable it was ignored, in large and small ways, with disastrous effects. We have seen how the pursuit of business-type efficiency in the placement of each soldier destroys the cohesion that makes fighting units effective; we may recall how the Pueblo was left virtually disarmed when it encountered the North Koreans (strong armament was judged as not "cost effective" for ships of that kind). Because tactics, the operational art of war, and strategy itself are not reducible to precise numbers, money was allocated to forces and single weapons according to "firepower" scores, computer simulations, and mathematical studies - all of which maximize efficiency - but often at the expense of combat effectiveness. An even greater defect of the McNamara approach to military decisions was its businesslike "linear" logic, which is right for commerce or engineering but almost always fails in the realm of strategy. Because its essence is the clash of antagonistic and outmaneuvering wills, strategy usually proceeds by paradox rather than conventional "linear" logic. That much is clear even from the most shopworn of Latin tags: si vis pacem, para bellum (if you want peace, prepare for war), whose business equivalent would be orders of "if you want sales, add to your purchasing staff," or some other, equally absurd advice. Where paradox rules, straightforward linear logic is self-defeating, sometimes quite literally. Let a general choose the best path for his advance, the shortest and best-roaded, and it then becomes the worst path of all paths, because the enemy will await him there in greatest strength... Linear logic is all very well in commerce and engineering, where there is lively opposition, to be sure, but no open-ended scope for maneuver; a competitor beaten in the marketplace will not bomb our factory instead, and the river duly bridged will not deliberately carve out a new course. But such reactions are merely normal in strategy. Military men are not trained in paradoxical thinking, but they do no have to be. Unlike the business-school expert, who searches for optimal solutions in the abstract and then presents them will all the authority of charts and computer printouts, even the most ordinary military mind can recall the existence of a maneuvering antagonists now and then, and will therefore seek robust solutions rather than "best" solutions - those, in other words, which are not optimal but can remain adequate even when the enemy reacts to outmaneuver the first approach.

Why should I side with you? Why should I care if you win?” The phouka raked fingers through his hair. “You have seen one of them, one of their forms. That is what seeks domination over every natural thing in this place. We of the Seelie Court are capricious, and not always well-disposed toward humankind. But would you hand this city over to the likes of what you saw tonight? That is the Unseelie Court. If we fall, every park, every boulevard tree, every grassy lawn would be their dwelling place.” Eddi sighed. “It’s not just for you, it’s for the entire seven-country metro area. Couldn’t we just let them have St. Paul?” The phouka made a disgusted noise. “All right. What if they did take over? Would we all be eaten in our beds?” He shook his head. “There are places,” he began slowly, “that belong to them. Have you ever passed through some small town, surrounded by fertile country and fed by commerce, that seemed to be rotting away even as you watched? Where the houses and the people were faded, and all the storefronts stood empty?” Eddi remembered a few. “Or a city whose new buildings looked tawdry, whose old ones were ramshackle, where the streets were grimy and the wind was never fresh, where money passed from hand to hand yet benefited no one?” His words were quicker now. “This city is alive with the best magic of mortal folk. The very light off the skyscrapers and the lakes vibrate with it. If the Unseelie Court takes up residence here, this will be a place where people fear their neighbors, where life drains the living until art and wit are luxuries, where any pleasant thing must be imported and soon loses its savor.” He fell silent, as if embarrassed by his own eloquence. Eddi rubbed her hands over her face, trying to rub away her confusion, her anger, her fear. Finally she asked the only question she had left. “Can’t you get somebody else?” The phouka began to laugh weakly. “Oh, go to bed, Eddi McCandry. You could befuddle a stone. Go to bed, and sleep soundly, and tempt me not into some foolish flap of the tongue.

… The frayed and gritty edges of everyone’s world were being worried away by neighbors you’d never noticed until the air spilled over with the tragedy of their loss. The war had taken them or their children; killed them, lost them, torn off body parts, shipped them back brain-fried…. … Tales fell from hearts in heavy, wet tones of grief and confusion…. … Even when rare moments of relative calm and clarity crept briefly through our days, they crawled in with head hanging through that most familiar of all tunnels, our sense of loss. Each new friend seemed only to step in and announce himself with his last breath. Why hadn’t we loved him earlier when there had been more time? That overriding sense of loss was the dismal cloud through which you viewed the world. Dreading life’s relentless advance, but knowing your locks could never keep it out…. … As the late 60’s gave in and died, and I trudged through my first year as an art student in college, even the old folks were growing up. Their World War II glories clouded over. Someone had shot the president, his brother, and a great civil rights leader, dragging us all out of our warm, snuggly innocence. People seemed infested by life, burdened by the stifling weight of it, until we could only force shallow, labored breaths. Each new day was just an old one playing through again, a dust-laden August, a storm always riding right on top of you that never quite cut loose. It settled into your joints until they grew achy, too heavy to lift; tarring all hearts with a dark, heavy plaque. Days stuck together as walking and breathing grew tedious. Until even my bubbly sister couldn’t offer up a smile without a shadow lurking inside it. We trudged through life as our mighty nation killed our sons and broke our buddies, defending itself from skinny barefoot farmers with sticks, in rice swamps somewhere on the other side of existence, where you couldn’t tell the good guys from the bad. Some lost tiny nowhere that hadn’t even existed when you’d been a kid; when the world had been innocent and untainted. Back when Father Knew Best, Beaver’s mom fed his dad all the answers, and Annie Oakley never had to shoot to kill…. - From “Entertaining Naked People

When a middle school teacher in San Antonio, Texas, named Rick Riordan began thinking about the troublesome kids in his class, he was struck by a topsy-turvy idea. Maybe the wild ones weren’t hyperactive; maybe they were misplaced heroes. After all, in another era the same behavior that is now throttled with Ritalin and disciplinary rap sheets would have been the mark of greatness, the early blooming of a true champion. Riordan played with the idea, imagining the what-ifs. What if strong, assertive children were redirected rather than discouraged? What if there were a place for them, an outdoor training camp that felt like a playground, where they could cut loose with all those natural instincts to run, wrestle, climb, swim, and explore? You’d call it Camp Half-Blood, Riordan decided, because that’s what we really are—half animal and half higher-being, halfway between each and unsure how to keep them in balance. Riordan began writing, creating a troubled kid from a broken home named Percy Jackson who arrives at a camp in the woods and is transformed when the Olympian he has inside is revealed, honed, and guided. Riordan’s fantasy of a hero school actually does exist—in bits and pieces, scattered across the globe. The skills have been fragmented, but with a little hunting, you can find them all. In a public park in Brooklyn, a former ballerina darts into the bushes and returns with a shopping bag full of the same superfoods the ancient Greeks once relied on. In Brazil, a onetime beach huckster is reviving the lost art of natural movement. And in a lonely Arizona dust bowl called Oracle, a quiet genius disappeared into the desert after teaching a few great athletes—and, oddly, Johnny Cash and the Red Hot Chili Peppers—the ancient secret of using body fat as fuel. But the best learning lab of all was a cave on a mountain behind enemy lines—where, during World War II, a band of Greek shepherds and young British amateurs plotted to take on 100,000 German soldiers. They weren’t naturally strong, or professionally trained, or known for their courage. They were wanted men, marked for immediate execution. But on a starvation diet, they thrived. Hunted and hounded, they got stronger. They became such natural born heroes, they decided to follow the lead of the greatest hero of all, Odysseus, and

What are the great poetical names of the last hundred years or so? Coleridge, Wordsworth, Byron, Shelley, Landor, Keats, Tennyson, Browning, Arnold, Morris, Rossetti, Swinburne—we may stop there. Of these, all but Keats, Browning, Rossetti were University men, and of these three, Keats, who died young, cut off in his prime, was the only one not fairly well to do. It may seem a brutal thing to say, and it is a sad thing to say: but, as a matter of hard fact, the theory that poetical genius bloweth where it listeth, and equally in poor and rich, holds little truth. As a matter of hard fact, nine out of those twelve were University men: which means that somehow or other they procured the means to get the best education England can give. As a matter of hard fact, of the remaining three you know that Browning was well to do, and I challenge you that, if he had not been well to do, he would no more have attained to write Saul or The Ring and the Book than Ruskin would have attained to writing Modern Painters if his father had not dealt prosperously in business. Rossetti had a small private income; and, moreover, he painted. There remains but Keats; whom Atropos slew young, as she slew John Clare in a mad-house, and James Thomson by the laudanum he took to drug disappointment. These are dreadful facts, but let us face them. It is—however dishonouring to us as a nation—certain that, by some fault in our commonwealth, the poor poet has not in these days, nor has had for two hundred years, a dog’s chance. Believe me—and I have spent a great part of ten years in watching some three hundred and twenty elementary schools, we may prate of democracy, but actually, a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ (cit. The Art of Writing, Sir Arthur Quiller-Couch) Nobody could put the point more plainly. ‘The poor poet has not in these days, nor has had for two hundred years, a dog’s chance . . . a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ That is it. Intellectual freedom depends upon material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time. Women have had less intellectual freedom than the sons of Athenian slaves. Women, then, have not had a dog’s chance of writing poetry. That is why I have laid so much stress on money and a room of one’s own. However, thanks to the toils of those obscure women in the past, of whom I wish we knew more, thanks, curiously enough to two wars, the Crimean which let Florence Nightingale out of her drawing-room, and the European War which opened the doors to the average woman some sixty years later, these evils are in the way to be bettered. Otherwise you would not be here tonight, and your chance of earning five hundred pounds a year, precarious as I am afraid that it still is, would be minute in the extreme.

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54 ‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55 Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing. A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.

Wenn der Staat und die Wirtschaft in ihren Datensystemen für jeden Bürger ein berechenbares Ich entstehen lassen, müssen wir eine Art literarisches Ich dagegensetzen, das Dinge tut, mit denen nicht zu rechnen war.

Some viewed Chinese investors as the latest “dumb money” to hit Hollywood. It is no doubt true that financing movies is not the smartest way for any investor, from anywhere in the world, to earn the best returns. Others had a different theory—that some wealthy Chinese individuals and businesses were seeking to get their money out of China, where an autocratic government could still steal anyone’s wealth at any time, for any reason. Certainly Hollywood had long been a destination for legal money laundering. But those who worked most closely with the Chinese knew that the biggest reason for these investments was a form of reverse-colonialism. After more than a decade as a place for Hollywood to make money, China wanted to turn the tables. The United States had already proved the power of pop culture to help establish a nation’s global dominance. Now China wanted to do the same. The Beijing government considered art and culture to be a form of “soft power,” whereby it could extend influence around the world without the use of weapons. Over the past few years, locally produced Chinese films had become more successful at the box office there. But most were culturally specific comedies and love stories that didn’t translate anywhere else. China had yet to produce a global blockbuster. And with box-office growth in that country slowing in 2016 and early 2017, hits that resonated internationally would be critical if the Communist nation was to grow its movie business and use it to become the kind of global power it wanted to be. So Chinese companies, with the backing of the government, started investing in Hollywood, with a mission to learn how experienced hands there made blockbusters that thrived worldwide. Within a few years, they figured, China would learn how to do that without anyone’s help. “Working with a company like Universal will help us elevate our skill set in moviemaking,” the head of the Chinese entertainment company Perfect World Pictures said, while investing $250 million in a slate of upcoming films from the American studio. Getting there wouldn’t be easy. One of the highest-profile efforts to produce a worldwide hit out of China was The Great Wall, starring Matt Damon and made by Wanda’s Legendary Pictures. The $150 million film, about a war against monsters set on the Chinese historic landmark, grossed an underwhelming $171 million and a disastrous $45 million in the United States. Then, to create another obstacle, Chinese government currency controls established in early 2017 slowed, at least temporarily, the flow of money from China into Hollywood. But by then it was too late to turn back. As seemed to always be true when it came to Hollywood’s relationship with China, the Americans had no choice but to keep playing along. Nobody else was willing to pour billions of dollars into the struggling movie business in the mid-2010s, particularly for original or lower-budget productions.

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?

The War of Art by Steven Pressfield. This book has a magical, activating quality

In recent years there has been a tendency by some Western historians and politicians to look back at the aftermath of the Second World War through rose-tinted spectacles. Frustrated with the progress of rebuilding and reconciliation in the wake of wars in Afghanistan and Iraq at the beginning of the twenty-first century, they pointed to the success of similar projects in Europe in the 1940s. The Marshall Plan in particular was singled out as the template for postwar economic reconstruction. Such politicians would have done well to remember that the process of rebuilding did not begin straight away in Europe – the Marshall Plan was not even thought of until 1947 – and the entire continent remained economically, politically and morally unstable far beyond the end of the decade. As in Iraq and Afghanistan more recently, the United Nations recognized the need for local leaders to take command of their own institutions. But it took time for such leaders to emerge. In the immediate aftermath of the war, the only people who had the moral authority to take charge were those with proven records of resistance. But people who are skilled in the arts of guerrilla warfare, sabotage and violence, and who have become used to conducting all their business in strict secrecy, are not necessarily those best suited to running democratic governments.

mankind.”21 Hitler also suffered from the symptoms of the autodidact: superficial knowledge without depth or audit, energized by a forceful character dulled by a lack of subtlety. While his armies were stalling in Russia, Hitler’s midday and evening table talk ranged from the quality of honey bees to the best depth of cement for autobahns, always punctuated by conspiratorial interjections of anti-Semitism, contempt for Slavic peoples, crackpot views on art, and obsessions with his own health. Oddly, on some scattered topics—the vulnerability of New York skyscrapers to aerial attacks, the nutritional value of uncooked vegetables, or the eventual popularity of what would become the Volkswagen Bug—Hitler was occasionally strangely prescient.22

You don’t think we’d spoil the place? You seriously think they’re ready for us? For what we’d do to them even with the best of intentions?’ ‘Ready for it? What does that matter? What does it even mean? Of course they aren’t ready for it, of course we’ll spoil the place. Are they any more ready for World War Three? You seriously think we could mess the place up more than they’re doing at the moment? When they’re not actually out slaughtering each other they’re inventing ingenious new ways to massacre each other more efficiently in the future, and when they’re not doing that they’re committing speciescide, from the Amazon to Borneo . . . or filling the seas with shit, or the air, or the land. They could hardly make a better job of vandalizing their own planet if we gave them lessons.

Life can be the scariest thing in the world. It can also be the most incredible thing in the world. The difference is you. The difference is in you. In your attitude. That means how you live. That means how you fear. That means how you love. There is a power within these elements to both change and guide your entire life. They are always at war and they are always present. Learn to make life through your attitude. Learn to live your life in love. Learn to love your life through your attitude. To be the change you wish to see. It begins and ends with you. Choose to be your best you.

How does Plato solve the problem of avoiding class war? Had he been a progressivist, he might have hit on the idea of a classless, equalitarian society; for, as we can see for instance from his own parody of Athenian democracy, there were strong equalitarian tendencies at work in Athens. But he was not out to construct a state that might come, but a state that had been—the father of the Spartan state, which was certainly not a classless society. It was a slave state, and accordingly Plato’s best state is based on the most rigid class distinctions. It is a caste state. The problem of avoiding class war is solved, not by abolishing classes, but by giving the ruling class a superiority which cannot be challenged. As in Sparta, the ruling class alone is permitted to carry arms, it alone has any political or other rights, and it alone receives education, i.e. a specialized training in the art of keeping down its human sheep or its human cattle.

And for Roosevelt, life threw a lot at him: He lost a wife and his mother in rapid succession, he faced powerful, entrenched political enemies who despised his progressive agenda, was dealt defeat in elections, the nation was embroiled in foreign wars, and he survived nearly fatal assassination attempts. But he was equipped for it all because of his early training and because he kept at it every single day. Are you similarly prepared? Could you actually handle yourself if things suddenly got worse? We take weakness for granted. We assume that the way we’re born is the way we simply are, that our disadvantages are permanent. And then we atrophy from there. That’s not necessarily the best recipe for the difficulties of life. Not everyone accepts their bad start in life. They remake their bodies and their lives with activities and exercise. They prepare themselves for the hard road. Do they hope they never have to walk it? Sure. But they are prepared for it in any case. Are you? Nobody is born with a steel backbone. We have to forge that ourselves. We craft our spiritual strength through physical exercise, and our physical hardiness through mental practice (mens sana in corpore sano—sound mind in a strong body).

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There is enough treachery, hatred, violence, Absurdity in the average human being To supply any given army on any given day. AND The Best At Murder Are Those Who Preach Against It. AND The Best At Hate Are Those Who Preach LOVE AND THE BEST AT WAR —FINALLY—ARE THOSE WHO PREACH PEACE Those Who Preach GOD NEED God Those Who Preach PEACE Do Not Have Peace. THOSE WHO PREACH LOVE DO NOT HAVE LOVE BEWARE THE PREACHERS Beware The Knowers. Beware Those Who Are ALWAYS READING BOOKS Beware Those Who Either Detest Poverty Or Are Proud Of It BEWARE Those Quick To Praise For They Need PRAISE In Return BEWARE Those Quick To Censure: They Are Afraid Of What They Do Not Know Beware Those Who Seek Constant Crowds; They Are Nothing Alone Beware The Average Man The Average Woman BEWARE Their Love Their Love Is Average, Seeks Average But There Is Genius In Their Hatred There Is Enough Genius In Their Hatred To Kill You, To Kill Anybody. Not Wanting Solitude Not Understanding Solitude They Will Attempt To Destroy Anything That Differs From Their Own Not Being Able To Create Art They Will Not Understand Art They Will Consider Their Failure As Creators Only As A Failure Of The World Not Being Able To Love Fully They Will BELIEVE Your Love Incomplete AND THEN THEY WILL HATE YOU And Their Hatred Will Be Perfect Like A Shining Diamond Like A Knife Like A Mountain LIKE A TIGER LIKE Hemlock Their Finest ART

The tale Karataev tells was a particular favorite of Tolstoy’s. He wrote it out much more fully under the title of God Sees the Truth but Waits (the full Russian title is God Sees the Truth But Speaks not Soon) in the volume of Twenty-Three Tales. In What Is Art? he refers to it as being in his opinion one of the two best he ever wrote, as regards its subject matter of forgiveness of injuries. —A.M.

Jefferson did try. “Nothing shall be spared on my part to obliterate the traces of party and consolidate the nation, if it can be done without abandonment of principle,” he said in March 1801.8 Thirty-four months later, after the partisan wars of his first term, he struck more practical notes, accepting the world as it was. “The attempt at reconciliation was honorably pursued by us for a year or two and spurned by them,” he said.9 As Jefferson well knew, in practice the best he could hope for was a truce between himself and his opponents, not a permanent peace. Political divisions were intrinsic; what mattered most was how a president managed those divisions. Jefferson’s strategy was sound. Believing in the promise of democratic republicanism and in his own capacity for transformative leadership, he took a broad view: “There is nothing to which a nation is not equal where it pours all its energies and zeal into the hands of those to whom they confide the direction of their force.”10 He proposed a covenant: Let us meet the political challenges of the country together and try to restrain the passions that led to the extremist, apocalyptic rhetoric of what Jefferson called the “gloomy days of terrorism” of the 1790s, and perhaps politics could become a means of progress, not simply a source of conflict.11 The prevailing Federalist view was that such a covenant was lovely to talk about but impossible to bring into being. John Quincy Adams was right when he told his diary that political war was to be the rule, not the exception, in American life. “The country is so totally given up to the spirit of party, that not to follow blindfold the one or the other is an inexpiable offense,” Adams wrote during Jefferson’s first term.12

Five minutes after something happened might not be the best time for you to get into your Facebook and tell everybody. Men's panic does not produce God's power.

For a time, Boyd and Spinney were reluctant to fully explain the OODA Loop; it was far too dangerous. If someone truly understands how to create menace and uncertainty and mistrust, then how to exploit and magnify the presence of these disconcerting elements, the Loop can be vicious, a terribly destructive force, virtually unstoppable in causing panic and confusion and—Boyd’s phrase is best—“unraveling the competition.” This is true whether the Loop is applied in combat, in competitive business practices, in sports, or in personal relationships. The most amazing aspect of the OODA Loop is that the losing side rarely understands what happened.

Japan, a country that had done its best to have no contact with strangers and to seal out the rest of the world. Its economy and politics were dominated by feudal agriculture and a Confucian hierarchical social structure, and they were steadily declining. Merchants were the lowest social class, and trading with foreigners was actually forbidden except for limited contact with China and the Dutch. But then Japan had an unexpected encounter with a stranger—Commodore Matthew Perry—who burst in on July 8, 1853, demanding that Japan’s ports be open to America for trade and insisting on better treatment for shipwrecked sailors. His demands were rebuffed, but Perry came back a year later with a bigger fleet and more firepower. He explained to the Japanese the virtues of trading with other countries, and eventually they signed the Treaty of Kanagawa on March 31, 1854, opening the Japanese market to foreign trade and ending two hundred years of near isolation. The encounter shocked the Japanese political elites, forcing them to realize just how far behind the United States and other Western nations Japan had fallen in military technology. This realization set in motion an internal revolution that toppled the Tokugawa Shogunate, which had ruled Tokyo in the name of the emperor since 1603, and brought Emperor Meiji, and a coalition of reformers, in his place. They chose adaptation by learning from those who had defeated them. They launched a political, economic, and social transformation of Japan, based on the notion that if they wanted to be as strong as the West they had to break from their current cultural norms and make a wholesale adoption of Western science, technology, engineering, education, art, literature, and even clothing and architecture. It turned out to be more difficult than they thought, but the net result was that by the late nineteenth century Japan had built itself into a major industrial power with the heft to not only reverse the unequal economic treaties imposed on it by Western powers but actually defeat one of those powers—Russia—in a war in 1905. The Meiji Restoration made Japan not only more resilient but also more powerful.

In the past, the states best able to manage events beyond their borders have been those best able to avoid the temptation to overreach. Great powers remain great in large measure because they posses wisdom to temper active involvement in foreign interventions - to remain within the limits of a national strategy that balances ambition with military resources. The first principle of the strategic art states simply that the greatest weight of resources be devoted to safeguarding the most vital interests of the state. If a vital interest is threatened, the survival of the state is threatened. Generally, the most vital interest of a liberal democracy include, first and foremost, preservation of the territorial integrity of the state. The example of the attacks on New York and Washington should send a message to those of similar ambitions that the surest way to focus the wrath of the American people against them would be to strike this country within its borders again. The second strategic priority is the protection of the national economic welfare by ensuring free and open access to markets for vital materials and finished goods. Other important but less vital interests should be defended by the threat of force only as military resources permit. Outside the limits of U.S. territory, the strategic problem defining the geographic limits of U.S. vital interests becomes complex. While the United States may have some interests in every corner of the world, there are certain regions where its strategic interests, both economic and cultural, are concentrated and potentially threatened. These vital strategic "centers of gravity" encompass in the first instance those geographic areas essential to maintaining access to open markets and sources of raw material, principally oil. Fortunately, many of these economically vital centers are secure from serious threat. But a few happen to be located astride regions that have witnessed generations of cultural and ethnic strife. Four regions overshadow all others in being both vital to continued domestic prosperity and continually under the threat of state-supported violence. These regions are defined generally by an arc of territories along the periphery of Eurasia: Europe, the Middle East, South Asia, and north East Asia. For the past several centuries, these regions have been the areanas of the world's most serious and intractable conflicts. Points of collision begin with the intersection of Western and Eastern Christianity and continue southward to mark Islam's incursion into southeastern Europe in the Balkans. The cultural divide countries without interruption across the Levant in an unbroken line of unrest and warring states from the crescent of the Middle East to the subcontinent of South Asia. The fault-line concludes with the divide between China and all the traditional cultural competitors along its land and sea borders. Other countries outside the periphery of Eurasia might, in extreme cases, demand the presence of U.S. forces for peacekeeping or humanitarian operations. But it is unlikely that in the years to come the United States will risk a major conflict that will involve the calculated commitment of forces in a shooting war in regions outside this "periphery of Eurasia," which circumscribes and defines America's global security.

What is the book (or books) you’ve given most as a gift, and why? Or what are one to three books that have greatly influenced your life? Hands down, The War of Art by Steven Pressfield. This book has a magical, activating quality to it. It’s the essential no-bullshit guide for anyone who battles self-doubt or struggles to bring any important project to life. I reread it in full at least once a year. But it’s also the kind of book that you can flip to any page, read the passage, and find the exact jolt of inspiration you need to move ahead.

Originals by Adam Grant is one of the best books I’ve read on how to be more creative at work and how to think outside the box, sell your ideas, and make a difference. 10.YOUR CREATIVE LIFE. The War of Art by Steven

Something about the church being like Star Wars? I was trying to remember it today when I was talking to Father McKenzie, but I clean forgot.’ Buchan downed his drink, then placed the glass firmly on the table. There was nothing for him here, nothing good to come from sitting any longer. ‘They both look great,’ said Buchan. ‘The CGI on Star Wars, the colour palettes, the scope and the scale of the worlds they create, is extraordinary. Just like the Church looks great. So many wonderful buildings, so much jaw-dropping architecture and art. And the music too. Star Wars music, it’s epic. Some of the best, most iconic film music there is. And there’s tonnes, I mean, tonnes of great religious music, from, I don’t know, God Rest Ye Merry Gentlemen to Arvo Pärt’s Deer’s Cry, and Bach’s Christmas Oratorio. Everything in between. But then we get to the message, the dialogue, the script, the story... And they’re both shit.

Real America, in honor of the hellhound, our beloved Bukowski You hate America, no, not at all, I love it so much that I can say obvious truths that they themselves do not want to accept. If I criticize myself all the time, why would I stop criticizing others? A poem in honor of the only sincere American, Bukowski. The myth of America tells us of the land of freedom, founded by descendants of intelligent and puritanical Europeans. It's all a load of crap, no, it's the land of slavery, my friends, not just in the sense of slavery of African descendants, but of mental slavery. Yes, the land of the alienated. Eden, created by Angels. This is all a load of crap. Real America, Real America, Strong America, came from the indigenous tribes, from the toil of blacks and the industrious mentality of descendants of Europeans, all lazy, violent and who wanted to get fat like pigs, without worrying about anything. Dirty America that produces clean America, sold in the movies. Why lazy? Well, they don't like to make a lot of effort, and this indolence produces innovation. Is that why they are so creative? Well, they are creative in order to pay well the brains of other nations who go to work there. They knew that numerous wars and constant friction were much worse than anything else and cost money. So? Well, then, let's create a land where everyone can get fat, rich and kill each other, but only as long as the general profit of society increases. Let's sell the excess food, weapons and our gourmet culture to other peoples. It worked. But let's not fool ourselves. America is Golden on the outside and dark on the inside. America is the country of weapons, drugs, fantasies and lies. Above all, lies. See, the mafias that operated there to supply the demand for alcohol, prohibited in order to maintain the pure "spirit" of the drunken bourgeoisie, were all called mafias of other nationalities. But they were all Americans. America is geography, not history or ethnicity. You are an American because of your ties to this immense land blessed by God. Is that what these bastards have done? They have turned their own pain into art and sold it to us in the movies. The weapons, yes, they have to be good and they have to kill quickly. Why? Because Americans are lazy and don't like anything that lasts long. Even wars have to be fought in other countries and if they are too exhausting, they lose their Hollywood shine, so we have to abandon Saigon. Fatness, that is another thing that best represents America. Americans are all obese. Well, at least you can't help but notice them. They are, well, heavy people, especially the Karens. I love Karens, I'm a male Karen, you know. And as for drugs, well, that's the most interesting part. It's the country that consumes them the most, why? Well, maintaining the American dream requires a lot of mescaline. Fat drug addicts with guns sticking out of their own toilets. The toilets in America must hide everything we really want to know. I will probably never get a visa there, thanks to this poem. Still, you can't deny that my writing is anthological. God bless all the Americas. Please don't blow me up, I have poetic license to write these words.

Every day is a war. Yes, yes it was. The key is to keep company only with people who uplift you, whose presence calls forth your best. Done:

It makes sense. At the core of Stoicism is the acceptance of what we cannot change. Cato had given his life to defend the Republic and he had lost. Brutus had not only failed in his attempt to restore liberty to Rome, but had plunged the country into a second civil war. Now a new state had been created and peace had returned, and the Stoics who survived believed it was their obligation to serve this state and ensure it remained the same—and so they set out, as best they could, to mold young Octavian into Augustus Caesar, the emperor.

Bambi schien das eine wie das andere überaus hochmütig, die Art, wie der Hirsch ihn angeblickt hatte, und die Art, wie er jetzt vor sich hin sah, als sei niemand sonst zugegen. Bambi wußte nicht, was er tun sollte. Er war mit der festen Absicht herausgekommen, den Hirsch anzusprechen. Guten Morgen, hatte er sagen wollen, ich heiße Bambi... darf ich um Ihren werten Namen bitten? Jawohl! Er hatte sich das sehr einfach vorgestellt, und nun zeigte es sich, daß die Sache doch nicht so einfach war. Was half da die beste Absicht? Bambi wollte nicht gerne ungezogen sein, und das war er, wenn er hier herauskam, ohne ein Wort zu sagen. Er wollte auch nicht zudringlich sein, und das war er, wenn er zu reden anfing. Der Hirsch stand empörend majestätisch da. Bambi war hingerissen und fühlte sich gedemütigt. Vergebens suchte er sich aufzurütteln und wiederholte immer wieder nur den einen Gedanken: Warum lasse ich mich denn einschüchtern..? Ich bin gerade so viel wie er... gerade so viel wie er! Es half nichts. Bambi blieb eingeschüchtert und spürte es im Grunde seines Wesens, daß er doch nicht gerade so viel sei. Lange nicht. Ihm war jämmerlich zumut, und er brauchte seine ganze Kraft, um einigermaßen Haltung zu bewahren. Der Hirsch sah ihn an und dachte: Er ist reizend... er ist wirklich entzückend... so hübsch... so zierlich... so fein in seinem ganzen Benehmen... Aber ich darf ihn nicht so anstarren. Das schickt sich wirklich nicht. Außerdem könnte es ihn auch in Verlegenheit bringen. Und er schaute wieder über Bambi weg ins Leere. Dieser hochmütige Blick! stellte Bambi fest. Es ist unerträglich, was so einer sich einbildet! Der Hirsch dachte: Ich möchte gerne mit ihm sprechen... er ist so sympathisch... wie dumm, daß man nie miteinander redet! Und er blickte nachdenklich vor sich hin. Ich bin Luft für ihn, sagte Bambi, diese Sippe tut immer, als sei sie ganz allein auf der Welt! Aber was soll ich zu ihm sagen..? überlegte der Hirsch, ... ich habe keine Übung... ich werde eine Dummheit sagen und mich lächerlich machen... denn er ist gewiß sehr klug. Bambi nahm sich zusammen und sah den Hirsch fest an. Wie prächtig er ist! dachte er verzweifelt. Nun... vielleicht ein andermal... entschloß sich schließlich der Hirsch und ging unzufrieden, aber herrlich davon. Bambi blieb verbittert zurück.

The Ministry of Truth, which concerned itself with news, entertainment, education, and the fine arts. The Ministry of Peace, which concerned itself with war. The Ministry of Love, which maintained law and order. And the Ministry of Plenty, which was responsible for economic affairs. Their names, in Newspeak: Minitrue, Minipax, Miniluv, and Miniplenty.

Bredius had been fighting to keep Vermeer’s best work away from the upstart Americans for thirty years, since his long-ago tug of war over The Milkmaid. Hannema, the director of a museum yearning for a place at a table dominated by haughty Amsterdam and the mighty Rijksmuseum, was desperate to win this one-of-a-kind jewel for himself. Hannema had an extra incentive, though he hardly needed one. Nearly a century before, Rotterdam had kicked away a chance at one of the best-loved Vermeers of all, The Lacemaker. Through all the succeeding Decades, the pain of that loss lingered on.