Assignment Writing Quotes

Calvin: I used to hate writing assignments, but now I enjoy them. I realized that the purpose of writing is to inflate weak ideas, obscure poor reasoning, and inhibit clarity. With a little practice, writing can be an intimidating and impenetrable fog! Want to see my book report? Hobbes: (Reading Calvin's paper) "The Dynamics of Interbeing and Monological Imperatives in Dick and Jane: A Study in Psychic Transrelational Gender modes." Calvin: Academia, here I come!

Thirty years ago my older brother, who was ten years old at the time, was trying to get a report written on birds that he'd had three months to write, which was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books about birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him put his arm around my brother's shoulder, and said, "Bird by bird, buddy. Just take it bird by bird.

You don't write because someone sets assignments! You write because you need to write, or because you hope someone will listen or because writing will mend something broken inside you or bring something back to life.

Make me an offer, " I said at last. "Write it up, and give me a point-by-point outline of why you're a good would-be suitor. " He started to laugh, then saw my face. "Seriously? That's like homework. There's a reason I'm not in college. " I snapped my fingers. "Get to it, Ivashkov. I want to see you put in a good day's work. " I expected a joke or a brush-off until later, but instead, he said, "Okay. " "Okay?" "Yep. I'm going to go back to my room right now to start drafting my assignment. " I stared incredulously as he reached for his coat. I had never seen Adrian move that fast when any kind of labor was involved. Oh no. What had I gotten myself into?

Why Dream? Life is a difficult assignment. We are fragile creatures, expected to function at high rates of speed, and asked to accomplish great and small things each day. These daily activities take enormous amounts of energy. Most things are out of our control. We are surrounded by danger, frustration, grief, and insanity as well as love, hope, ecstasy, and wonder. Being fully human is an exercise in humility, suffering, grace, and great humor. Things and people all around us die, get broken, or are lost. There is no safety or guarantees. The way to accomplish the assignment of truly living is to engage fully, richly, and deeply in the living of your dreams. We are made to dream and to live those dreams.

Be a worthy worker and work will come.

people used to tell me that i had beautiful hands told me so often, in fact, that one day i started to believe them until i asked my photographer father, “hey daddy could i be a hand model” to which he said no way, i dont remember the reason he gave me and i wouldve been upset, but there were far too many stuffed animals to hold too many homework assignment to write, too many boys to wave at too many years to grow, we used to have a game, my dad and i about holding hands cus we held hands everywhere, and every time either he or i would whisper a great big number to the other, pretending that we were keeping track of how many times we had held hands that we were sure, this one had to be 8 million 2 thousand 7 hundred and fifty three. hands learn more than minds do, hands learn how to hold other hands, how to grip pencils and mold poetry, how to tickle pianos and dribble a basketball, and grip the handles of a bicycle how to hold old people, and touch babies , i love hands like i love people, they're the maps and compasses in which we navigate our way through life, some people read palms to tell your future, but i read hands to tell your past, each scar marks the story worth telling, each calloused palm, each cracked knuckle is a missed punch or years in a factory, now ive seen middle eastern hands clenched in middle eastern fists pounding against each other like war drums, each country sees theyre fists as warriors and others as enemies. even if fists alone are only hands. but this is not about politics, no hands arent about politics, this is a poem about love, and fingers. fingers interlock like a beautiful zipper of prayer. one time i grabbed my dads hands so that our fingers interlocked perfectly but he changed positions, saying no that hand hold is for your mom. kids high five, but grown ups, we learn how to shake hands, you need a firm hand shake,but dont hold on too tight, but dont let go too soon, but dont hold down for too long, but hands are not about politics, when did it become so complicated. i always thought its simple. the other day my dad looked at my hands, as if seeing them for the first time, and with laughter behind his eye lids, with all the seriousness a man of his humor could muster, he said you know you got nice hands, you could’ve been a hand model, and before the laughter can escape me, i shake my head at him, and squeeze his hand, 8 million 2 thousand 7hundred and fifty four.

In the past few years I've assigned books to be read before a student attends one of my weeklong seminars. I have been astonished by how few people -- people who supposedly want to write -- read books, and if they read them, how little they examine them.

. . . Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what's inside you, to make your soul grow. Seriously! I mean starting right now, do art and do it for the rest of your lives. Draw a funny or nice picture of Ms. Lockwood, and give it to her. Dance home after school, and sing in the shower and on and on. Make a face in your mashed potatoes. Pretend you're Count Dracula. Here's an assignment for tonight, and I hope Ms. Lockwood will flunk you if you don't do it: Write a six line poem, about anything, but rhymed. No fair tennis without a net. Make it as good as you possibly can. But don't tell anybody what you're doing. Don't show it or recite it to anybody, not even your girlfriend or parents or whatever, or Ms. Lockwood. OK? Tear it up into teeny-weeny pieces, and discard them into widely separated trash recepticals [sic]. You will find that you have already been gloriously rewarded for your poem. You have experienced becoming, learned a lot more about what's inside you, and you have made your soul grow.

Journalists assigned to an issue often cover the coverage, creating the notorious media echo chamber.

i could never be a sports writer, unless my assignment was to write 'sports sports sports sports sports' for three pages

Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.

Anybody who likes writing a book is an idiot. Because it's impossible, it's like having a homework assignment every stinking day until it's done. And by the time you get it in, it's done and you're sitting there reading it, and you realize the 12,000 things you didn't do. I mean, writing isn't fun. It's never been fun. It's momentum, and once you get the momentum going, that's great, but it's a brutal experience in many, many ways. And when you're done, people tell you "Well, gee, I'm not interested." "Great, I'm glad I sat down and wrote this!

Stupid English." "English isn't stupid," I say. "Well, my English teacher is." He makes a face. "Mr. Franklin assigned an essay about our favorite subject, and I wanted to write about lunch, but he won't let me." "Why not?" "He says lunch isn't a subject." I glance at him. "It isn't." "Well," Jacob says, "it's not a predicate, either. Shouldn't he know that?

I would want kids to talk and write about how the book makes them feel, what it reminded them of, if it changed their thoughts about anything. I’d have them keep a journal and have them freewrite after they read each assignment. What did this make you think about? That’s what I’d want to know. I think you could get some really original ideas that way, not the old regurgitated ones like man versus nature. Just shoot me if I ever assign anyone an essay about man versus nature. Questions like that are designed to pull you completely out of the story. Why would you want to pull kids out of the story? You want to push them further in, so they can feel everything the author tried so hard to create for them.

Not soon, as late as the approach of my ninetieth year, I felt a door opening in me and I entered the clarity of early morning. One after another my former lives were departing, like ships, together with their sorrow. And the countries, cities, gardens, the bays of seas assigned to my brush came closer, ready now to be described better than they were before.

But I have realized recently that words are just words, a series of letters, arranged in a certain order, most likely in the language we were assigned at birth. People are careless with their words nowadays. They throw them away in a text or a tweet, they write them, pretend to read them, twist them, misquote them, lie with, without, and about them. They steal them, then they give them away. Worst of all, they forget them. Words are only a value if we remember how to feel what they mean.

Say to yourself in the kindest possible way, Look, honey, all we’re going to do for now is to write a description of the river at sunrise, or the young child swimming in the pool at the club, or the first time the man sees the woman he will marry. That is all we are going to do for now. We are just going to take this bird by bird. But we are going to finish this one short assignment.

Sometimes it’s hard to know when you’ve crossed the line from conscientious to compulsive. When you’re in the thick of an assignment, it’s easy to believe that you must spend so much time brainstorming, researching, writing, testing, revising or what-have-you. Often, it’s only after you’ve been working for hours on end that you realize that half the work you’ve been doing wasn’t actually necessary and that you’ve just wasted a lot of time.

I sat down and got out my current project, an extremely bad villanelle in which I was carefully avoiding the word pestilence, which was trying so hard to shove its way into every stanza that I was sure that if I actually wrote it down, the whole thing would turn into a tidy evocation of a new plague. I’m probably the only student who tries to prevent my writing assignments from turning into new spells.

He'd been given an assignment to write about teen beauty pageants [...], which he'd accepted because he enjoyed blood sports as much as the next person.

I have yet to meet an English teacher who assigned a book to damage a kid.

Here’s an assignment for you: Write it down. Write down under what circumstances you’re willing to quit. And when. And then stick with it.

Having now finished the work assigned me, I retire from the great theatre of Action; and bidding an Affectionate farewell to this August body under whose orders I have so long acted, I here offer my Commission, and take my leave of all the employments of public life. (Address to Congress on Resigning Commission Dec 23, 1783)

P.S. Nothing personal, but I think this journal assignment is a waste of time. I know I have to do something to make up for all the work I'm missing at school, but I HATE busywork. And that's what this journal thing is. Half the teachers at school assign work they never read. When we get stupid assignments like that, I always write somewhere on my paper "blah blah blah" or "I bet you're not even reading this," are you? or "Give me a sign if you're reading this." They never are.

a park ranger is a protector. You protect the land from the people, the people from the land, the people from each other, and the people from themselves. It's what you are trained to do without even thinking, a reflexive and unconditional act. If you're lucky, you get assigned to people who seem worth saving and land and waters whose situation is not hopeless. If not, you save them anyway. And maybe in time, saving them will make them worth it.

Professor Longbottom only assigned us to write about spynuswort because it’s one of the three most useful plants in the magical world. If we were to write about every one of its uses, we’d be turning in encyclopedias, you silly boy.

Her assignment had been to write a simple Sumerian code for preserving a jar of pickled eggs. (To the programming-inclined reader, this is the magical equivalent of “HELLO WORLD.”)

Now, practically even better news than that of short assignments is the idea of shitty first drafts. All good writers write them.

An enlightened man had but one duty--to seek the way to himself, to reach inner certainty, to grope his way forward, no matter where it led. The realization shook me profoundly, it was the fruit of this experience. I had often speculated with images of the future, dreamed of roles that I might be assigned, perhaps as poet or prophet or painter, or something similar. All that was futile. I did not exist to write poems, to preach or to paint, neither I nor anyone else. All of that was incidental. Each man had only one genuine vocation--to find the way to himself. He might end up as poet or madman, as prophet or criminal--that was not his affair, ultimately it was of no concern. His task was to discover his own destiny--not an arbitrary one--and live it out wholly and resolutely within himself. Everything else was only a would-be existence, an attempt at evasion, a flight back to the ideals of the masses, conformity and fear of one's own inwardness.

Primo Levi laid bare the oldest function assigned to music. Music, he writes, was felt to be a “malediction.” It was a “hypnosis of continuous rhythm that annihilates thought and numbs pain.

A writer who’s a pro can take on almost any assignment, but if he or she doesn’t much care about the subject, I try to dissuade the writer, as in that case the book can be just plain hard labor.

But Orlando was a woman — Lord Palmerston had just proved it. And when we are writing the life of a woman, we may, it is agreed, waive our demand for action, and substitute love instead. Love, the poet has said, is woman’s whole existence. And if we look for a moment at Orlando writing at her table, we must admit that never was there a woman more fitted for that calling. Surely, since she is a woman, and a beautiful woman, and a woman in the prime of life, she will soon give over this pretence of writing and thinking and begin at least to think of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). And then she will write him a little note (and as long as she writes little notes nobody objects to a woman writing either) and make an assignation for Sunday dusk and Sunday dusk will come; and the gamekeeper will whistle under the window — all of which is, of course, the very stuff of life and the only possible subject for fiction. Surely Orlando must have done one of these things? Alas,— a thousand times, alas, Orlando did none of them. Must it then be admitted that Orlando was one of those monsters of iniquity who do not love? She was kind to dogs, faithful to friends, generosity itself to a dozen starving poets, had a passion for poetry. But love — as the male novelists define it — and who, after all, speak with greater authority?— has nothing whatever to do with kindness, fidelity, generosity, or poetry. Love is slipping off one’s petticoat and — But we all know what love is. Did Orlando do that? Truth compels us to say no, she did not. If then, the subject of one’s biography will neither love nor kill, but will only think and imagine, we may conclude that he or she is no better than a corpse and so leave her.

To choose not to be part of a team or religion does not make me non-religious; for my religion is Truth and I am very much in love with God. I do not need to align myself with a specific messenger if I already understand God’s message. And the way I think is not considered ‘New Age’, since common sense is not new. So long as you act and speak with love and truth in you, and are good to your fellow man — in that you treat everybody as you would want yourself to be treated, your heart will stand by God regardless of the label you have assigned to your mind.

I do feel that literature should be demystified. What I object to is what is happening in our era: literature is only something you get at school as an assignment. No one reads for fun, or to be subversive or to get turned on to something. It's just like doing math at school. I mean, how often do we sit down and do trigonometry for fun, to relax. I've thought about this, the domination of the literary arts by theory over the past 25 years -- which I detest -- and it's as if you have to be a critic to mediate between the author and the reader and that's utter crap. Literature can be great in all ways, but it's just entertainment like rock'n'roll or a film. It is entertainment. If it doesn't capture you on that level, as entertainment, movement of plot, then it doesn't work. Nothing else will come out of it. The beauty of the language, the characterisation, the structure, all that's irrelevant if you're not getting the reader on that level -- moving a story. If that's friendly to readers, I cop to it.

Even as a child Gates had an obsessive personality and a compulsive need to be the best. "Any school assignment, be it playing a musical instrument or writing papers, whatever, he would do at any or all hours of the day".

Journalism, to me, is just another drug – a free ride to scenes I'd probably miss if I stayed straight. But I'm neither a chemist nor an editor; all I do is take the pill or the assignment and see what happens. Now and then I get a bad trip, but experience has made me more careful about what I buy... so if you have a good pill I'm open; I'll try almost anything that hasn't bitten me in the past.

Your story is not a picture of life; it lacks the elements of truth. And why? Simply because you run straight on to the end; because you do not analyze. Your heroes do this thing or that from this or that motive, which you assign without ever a thought of dissecting their mental and moral natures. Our feelings, you must remember, are far more complex than all that. In real life every act is the resultant of a hundred thoughts that come and go, and these you must study, each by itself, if you would create a living character. 'But,' you will say, 'in order to note these fleeting thoughts one must know them, must be able to follow them in their capricious meanderings.You have simply to make use of hypnotism, electrical or human, which gives one a two-fold being, setting free the witness-personality so that it may see, understand, and remember the reasons which determine the personality that acts.

What’s interesting to Hal Incandenza about his take on Struck, sometimes Pemulis, Evan Ingersoll, et al. is that congenital plagiarists put so much more work into camouflaging their plagiarism than it would take just to write up an assignment from conceptual scratch. It usually seems like plagiarists aren't lazy so much as kind of navigationally insecure. They have trouble navigating without a detailed map's assurance that somebody has been this way before them.

Then I started to think in Lipp’s about when I had first been able to write a story about losing everything. It was up in Cortina d’Ampezzo when I had come back to join Hadley there after the spring skiing which I had to interrupt to go on assignment to Rhineland and the Ruhr. It was a very simple story called ‘Out of Season’ and I had omitted the real end of it which was that the old man hanged himself. This was omitted on my new theory that you could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood.

Readers, A few years ago, while I was writing Flood Tide, I realized that Dirk Pitt needed some help on a particular assignment, and so I dreamed up Juan Cabrillo. Cabrillo ran a ship called the Oregon, on the outside completely nondescript, but on the inside packed with state-of-the-art intelligence-gathering equipment. It was a completely private enterprise, available for any government agency that could afford it. It went where no warship could go, transported secret cargo without suspicion, plucked

My novel's about Brooklyn." "The tree? Or the kids or the murderers or the junkies?" Vivaldo swallowed. "All of them." "That's quite an assignment. And if you don't mind my saying so, it sounds just a little bit old fashioned." He put his hand before his mouth and burped. "Brooklyn's been done. And done.

I want to apologize to you, Nikki. Not just, ‘hey, sorry,’ but really. Apologize.” He paused, either to let her absorb it or to find his way, then he went on, “This is all still new to both of us. You and I came to each other with full lives, past baggage, careers, the works. Both of us. And this trip of mine, this was the first time since we got together that you’re seeing what my real work is like. I have the advantage of having gone on ride-along, so you—I get your life, inside and out. Me, I’m an investigative journalist. If I’m doing it right, I’m spending big stretches of time in places nobody else has the balls to go and under conditions most reporters wouldn’t put up with. That explains why I fell off the radar on my story. I told you I might before I left. But it’s no excuse for not calling you when I got in the clear. The only explanation I can give may sound flimsy, but it’s the truth. When I come off assignment, I have a routine. I sleep like the dead and write like the devil, in seclusion. It’s the way I’ve always done it. For years. But now—I realize something’s different now. I’m not the only one involved. “Now, if I could take back the past twenty-four hours, I would, but I can’t. What I can do, though, is say when I look at you now and see the hurt in you—the hurt I caused by being insensitive—I see pain I never want to bring to you again.” He let that sit there, then said, “Nikki, I apologize. I was wrong. And I am sorry.

Eventually he begins to practice his new signature in the margins of the paper. He tries it in various styles, his hand unaccustomed to the angles of the N, the dotting of the two i's. He wonders how many times he has written his old name, at the top of how many tests and quizzes, how many homework assignments, how many yearbook inscriptions to friends. How many times does a person write his name in a lifetime - a million? Two million?

The assignment was a two-page essay, in Greek, on any epigram of Callimachus that we chose. I'd done only a page and I started to hurry through the rest in impatient and slightly dishonest fashion, writing out the English and translating word by word. It was something Julian asked us not to do. The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation.

I just want to say one thing. If I ever write a novel again, it's going to be in defense of weak women, inept and codependent women. I'm going to talk about all the great movies and songs and poetry that focus on such women. I'm going to toast Blanche DuBois. I'm going to celebrate women who aren't afraid to show their need and their vulnerabilities. To be honest about how hard it can be to plow your way through a life that offers no guarantees about anything. I'm going to get on my metaphorical knees and thank women who fall apart, who cry and carry on and wail and wring their hands because you know what, Midge? We all need to cry. Thank God for women who can articulate their vulnerabilities and express what probably a lot of other people want to say and feel they can't. Those peoples' stronghold against falling apart themselves is the disdain they feel for women who do it for them. Strong. I'm starting to think that's as much a party line as anything else ever handed to women for their assigned roles. When do we get respect for our differences from men? Our strength is our weakness. Our ability to feel is our humanity. You know what? I'll bet if you talk to a hundred strong women, 99 of them would say 'I'm sick of being strong. I would like to be cared for. I would like someone else to make the goddamn decisions, I'm sick of making decisions.' I know this one woman who's a beacon of strength. A single mother who can do everything - even more than you, Midge. I ran into her not long ago and we went and got a coffee and you know what she told me? She told me that when she goes out to dinner with her guy, she asks him to order everything for her. Every single thing, drink to dessert. Because she just wants to unhitch. All of us dependent, weak women have the courage to do all the time what she can only do in a restaurant.

Life, it has been agreed by everyone whose opinion is worth consulting, is the only fit subject for novelist or biographer; life, the same authorities have decided, has nothing whatever to do with sitting still in a chair and thinking. Thought and life are as the poles asunder. Therefore — since sitting in a chair and thinking is precisely what Orlando is doing now — there is nothing for it but to recite the calendar, tell one’s beads, blow one’s nose, stir the fire, look out of the window, until she has done… Surely, since she is a woman, and a beautiful woman, and a woman in the prime of life, she will soon give over this pretence of writing and thinking and begin at least to think of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). And then she will write him a little note (and as long as she writes little notes nobody objects to a woman writing either) and make an assignation for Sunday dusk… She was kind to dogs, faithful to friends, generosity itself to a dozen starving poets, had a passion for poetry. But love — as the male novelists define it — and who, after all, speak with greater authority? — has nothing whatever to do with kindness, fidelity, generosity, or poetry. Love is slipping off one’s petticoat and — But we all know what love is… If then, the subject of one’s biography will neither love nor kill, but will only think and imagine, we may conclude that he or she is no better than a corpse and so leave her.

Perhaps someday they’ll assign us side by side, in some small village far upthread, deep cover, each watching each, and we can make tea together, trade books, report home sanitized accounts of each other’s doings. I think I’d still write letters, even then.

Lead me, Zeus, lead me, Destiny, To the goal I was long ago assigned And I will follow without hesitation. Even should I resist, In a spirit of perversity, I will have to follow nonetheless. [2] Whoever yields to necessity graciously We account wise in God’s ways.

THE ORGANIC FOODS MYTH A few decades ago, a woman tried to sue a butter company that had printed the word 'LITE' on its product's packaging. She claimed to have gained so much weight from eating the butter, even though it was labeled as being 'LITE'. In court, the lawyer representing the butter company simply held up the container of butter and said to the judge, "My client did not lie. The container is indeed 'light in weight'. The woman lost the case. In a marketing class in college, we were assigned this case study to show us that 'puffery' is legal. This means that you can deceptively use words with double meanings to sell a product, even though they could mislead customers into thinking your words mean something different. I am using this example to touch upon the myth of organic foods. If I was a lawyer representing a company that had labeled its oranges as being organic, and a man was suing my client because he found out that the oranges were being sprayed with toxins, my defense opening statement would be very simple: "If it's not plastic or metallic, it's organic." Most products labeled as being organic are not really organic. This is the truth. You pay premium prices for products you think are grown without chemicals, but most products are. If an apple is labeled as being organic, it could mean two things. Either the apple tree itself is free from chemicals, or just the soil. One or the other, but rarely both. The truth is, the word 'organic' can mean many things, and taking a farmer to court would be difficult if you found out his fruits were indeed sprayed with pesticides. After all, all organisms on earth are scientifically labeled as being organic, unless they are made of plastic or metal. The word 'organic' comes from the word 'organism', meaning something that is, or once was, living and breathing air, water and sunlight. So, the next time you stroll through your local supermarket and see brown pears that are labeled as being organic, know that they could have been third-rate fare sourced from the last day of a weekend market, and have been re-labeled to be sold to a gullible crowd for a premium price. I have a friend who thinks that organic foods have to look beat up and deformed because the use of chemicals is what makes them look perfect and flawless. This is not true. Chemical-free foods can look perfect if grown in your backyard. If you go to jungles or forests untouched by man, you will see fruit and vegetables that look like they sprouted from trees from Heaven. So be cautious the next time you buy anything labeled as 'organic'. Unless you personally know the farmer or the company selling the products, don't trust what you read. You, me, and everything on land and sea are organic. Suzy Kassem, Truth Is Crying

It's like, Jude, for example," I say, quietly, careful with my words. "He's so nice. Everybody likes him. He just gets along with people, everywhere he goes. I know I'm not that. And Ari, she's so talented, and so passionate about music, but I'm not really passionate about anything, other than wanting to succeed. To do my best. But I can make plans, and I can stay organized, and if a teacher assigns a report, I'm going to write the best darn report they've ever seen. If I'm throwing a gala, I'm going to throw a party that no one will ever forget. I can do that. And if I can impress people, then maybe they won't notice that I'm not witty or beautiful or... fun.

We recently graduated from school, and the mayor gave us one last little school assignment. We had to write about our chosen profession. Twenty pages, too. Now, I love my village and all, and have absolutely zero regrets about becoming a warrior, but dude, c'mon. Who wants to write twenty pages about anything? Luckily, Runt thought of a way for us to avoid writing so much without breaking the rules, and every other student copied Runt's idea. Needless to say, the mayor wasn't too thrilled about that. Guess that's why Runt is back to crafting potato-based food items." Resisting the urge to ask 'What's a potato?', I nodded. "Hmm. Do you think I'll be able to speak with him?" "Probably,

When my son David was a high school senior in 2003, his graduating class went on a camping trip in the desert. A creative writing educator visited the camp and led the group through an exercise designed to develop their sensitivity and imaginations. Each student was given a pen, a notebook, a candle, and matches. They were told to walk a short distance into the desert, sit down alone, and “discover themselves.” The girls followed instructions. The boys, baffled by the assignment, gathered together, threw the notebooks into a pile, lit them with the matches, and made a little bonfire.

One morning last week He gave me an assignment: for one day I was to go on a "fast" from criticism. I was not to criticize anybody about anything. Into my mind crowded all the usual objections, "But then what happens to value judgments? You yourself, Lord, spoke of 'righteous judgment.' How could society operate without standards and limits?" All such resistance was brushed aside, "Just obey Me without questioning: an absolute fast on any critical judgments for this day." ...Barbed comments about certain world leaders were suppressed. In our talkative family no one seemed to notice. Bemused, I noticed that my comments were not missed. The federal government, the judicial system, and the institutional church could somehow get along without my penetrating observations. ...That afternoon, a specific, positive vision for this life was dropped into my mind with God's unmistakable hallmark on it-joy. Ideas began to flow in a way I had not experienced in years. My critical nature had not corrected a single one of the multitudinous things I found fault with. What it had done was stifle my creativity-in prayer, in relationships, perhaps even in writing-ideas that He wanted to give me.

One morning last week He gave me an assignment: for one day I was to go on a "fast" from criticism. I was not to criticize anybody about anything. Into my mind crowded all the usual objections, "But then what happens to value judgments? You yourself, Lord, spoke of 'righteous judgment.' How could society operate without standards and limits?" All such resistance was brushed aside, "Just obey Me without questioning: an absolute fast on any critical judgments for this day." ...Barbed comments about certain world leaders were suppressed. In our talkative family no one seemed to notice. Bemused, I noticed that my comments were not missed. The federal government, the judicial system, and the institutional church could somehow get along without my penetrating observations. ...That afternoon, a specific, positive vision for this life was dropped into my mind with God's unmistakable hallmark on it-joy. Ideas began to flow in a way I had not experienced in years. My critical nature had not corrected a single one of the multitudinous things I found fault with. What it had done was stifle my creativity-in prayer, in relationships, perhaps even in writing-ideas that He wanted to give me.

Beauty surrounds us, but oftentimes it takes a person with a poetic perception, an artist’s way of looking at the world, to first notice the sublime, and then stagecraft the splendor of nature so that other people can perceive their synoptic vision. The spirit and aesthetic intention behind the work is what assigns the work its artistic quality. Great works of poetry and writing, for instance, express not simply a criticism of life, but also encompass a philosophy for living.

Here's an assignment for you: Write it down. Write down under what circumstances you're willing to quit. And when. And then stick to it.

I keep a box in which I store his artwork and writings, like his response to an assignment in which he has been asked if you should always try your best. “I don’t think you should always try your best all the time,” he writes, “because, let’s say a drug atick asks you for drugs you should not try your best to find him some drugs.” Another assignment that goes into the box is

In the multiplicity of writing, everything is to be disentangled, nothing deciphered; the structure can be followed, 'run' (like the thread of a stocking) at every point and at every level, but there is nothing beneath: the space of writing is to be ranged over, not pierced; writing ceaselessly posits meaning ceaselessly to evaporate it, carrying out a systematic exemption of meaning. In precisely this way literature (it would be better from now on to say writing), by refusing to assign a 'secret', an ultimate meaning, to the text (and to the world as text), liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to refuse to fix meaning is, in the end, to refuse God and his hypostases--reason, science, law.

On the same convoy were two marine “snuffies,” or combat correspondents, Steve Berntson and Dale Dye. Both were marine sergeants with unusual jobs. They were “military journalists,” or, rather, public relations reporters in the field charged with writing stories about their fellow marines. They were assigned to the Information Services Office (ISO) and covered the war the same way as civilian journalists but with a mandate to stress the positive. They had a license to go anywhere and do anything that could be turned into a story, so they were far more widely traveled than most marines, and they had a great deal more independence.

After a heated dispute, we each undertook an assignment for the next class: to engage in one pleasurable activity and one philanthropic activity, and write about both. The results were life-changing. The afterglow of the “pleasurable” activity (hanging out with friends, or watching a movie, or eating a hot fudge sundae) paled in comparison with the effects of the kind action. When our philanthropic acts were spontaneous and called upon personal strengths, the whole day went better. One junior told about her nephew phoning for help with his third-grade arithmetic. After an hour of tutoring him, she was astonished to discover that “for the rest of the day, I could listen better, I was mellower, and people liked me much more than usual.” The exercise of kindness is a gratification, in contrast to a pleasure. As a gratification, it calls on your strengths to rise to an occasion and meet a challenge. Kindness is not accompanied by a separable stream of positive emotion like joy; rather, it consists in total engagement and in the loss of self-consciousness. Time stops.

Between 1870 and 1905 Mark Twain (Samuel L. Clemens) tried repeatedly, and at long intervals, to write (or dictate) his autobiography, always shelving the manuscript before he had made much progress. By 1905 he had accumulated some thirty or forty of these false starts—manuscripts that were essentially experiments, drafts of episodes and chapters; many of these have survived in the Mark Twain Papers and two other libraries. To some of these manuscripts he went so far as to assign chapter numbers that placed them early or late in a narrative which he never filled in, let alone completed. None dealt with more than brief snatches of his life story.

Act Well the Part That Is Given to You We are like actors in a play. The divine will has assigned us our roles in life without consulting us. Some of us will act in a short drama, others in a long one. We might be assigned the part of a poor person, a cripple, a distinguished celebrity or public leader, or an ordinary private citizen. Although we can’t control which roles are assigned to us, it must be our business to act our given role as best as we possibly can and to refrain from complaining about it. Wherever you find yourself and in whatever circumstances, give an impeccable performance. If you are supposed to be a reader, read; if you are supposed to be a writer, write.

And when we are writing the life of a woman, we may, it is agreed, waive our demand for action, and substitute love instead. Love, the poet has said, is woman's whole existence. And if we look for a moment at Orlando writing at her table, we must admit that never was there a woman more fitted for that calling. Surely, since she is a woman, and a beautiful woman, and a woman in the prime of life, she will soon give over this pretence of writing and thinking and begin at least to think of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). And then she will write him a little note (and as long as she writes little notes nobody objects to a woman writing either) and make an assignation for Sunday dusk and Sunday dusk will come; and the gamekeeper will whistle under the window--all of which is, of course, the very stuff of life and the only possible subject for fiction.

People complain about the obscurity of poetry, especially if they're assigned to write about it, but actually poetry is rather straightforward compared to ordinary conversation with people you don't know well which tends to be jumpy repartee, crooked, coded, allusive to no effect, firmly repressed, locked up in irony, steadfastly refusing to share genuine experience--think of conversation at office parties or conversation between teenage children and parents, or between teenagers themselves, or between men, or between bitter spouces: rarely in ordinary conversation do people speak from the heart and mean what they say. How often in the past week did anyone offer you something from the heart? It's there in poetry. Forget everything you ever read about poetry, it doesn't matter--poetry is the last preserve of honest speech and the outspoken heart. All that I wrote about it as a grad student I hereby recant and abjure--all that matters about poetry to me is directness and clarity and truthfulness. All that is twittery and lit'ry: no thanks, pal. A person could perish of entertainment, especially comedy, so much of it casually nihilistic, hateful, glittering, cold, and in the end clueless. People in nusing homes die watching late-night television and if I were one of them, I'd be grateful when the darkness descends. Thank God if the pastor comes and offers a psalm and a prayer, and they can attain a glimmer of clarity at the end.

I’m not a man, I can’t earn a living, buy new things for my family. I have acne and a small peter. I’m not a man. I don’t like football, boxing and cars. I like to express my feeling. I even like to put an arm around my friend’s shoulder. I’m not a man. I won’t play the role assigned to me- the role created by Madison Avenue, Playboy, Hollywood and Oliver Cromwell, Television does not dictate my behavior. I’m not a man. Once when I shot a squirrel I swore that I would never kill again. I gave up meat. The sight of blood makes me sick. I like flowers. I’m not a man. I went to prison resisting the draft. I do not fight when real men beat me up and call me queer. I dislike violence. I’m not a man. I have never raped a woman. I don’t hate blacks. I do not get emotional when the flag is waved. I do not think I should love America or leave it. I think I should laugh at it. I’m not a man. I have never had the clap. I’m not a man. Playboy is not my favorite magazine. I’m not a man. I cry when I’m unhappy. I’m not a man. I do not feel superior to women I’m not a man. I don’t wear a jockstrap. I’m not a man. I write poetry. I’m not a man. I meditate on peace and love. I’m not a man. I don’t want to destroy you

Perhaps because I have spent hours sermonizing to students about the sins of the passive voice—how it can obfuscate meaning, deaden vitality, and abandon the task of assigning agency or responsibility—I find the grammar of justice maddening. It’s always “rendered,” “served,” or “done.” It always swoops down from on high—from God, from the state—like a bolt of lightning, a flaming sword come to separate the righteous from the wicked in Earth’s final hour. It is not, apparently, something we can give to one other, something we can make happen, something we can create together down here in the muck. The problem may also lie in the word itself, as for millennia “justice” has meant both “retribution” and “equality,” as if a gaping chasm did not separate the two. If you really want to know what justice is, don’t only ask questions and then score off anyone who answers, and refute him, roars Thrasymachus to Socrates in The Republic. You know very well that it is much easier to ask questions than to answer them. Give an answer yourself and tell us what you say justice is. When justice is done, writes Anne Carson, the world drops away. This does not seem to me a happy thought. I am not yet sure I want the world to drop away.

Dear Julie: If I didn't feel that there is some good in your story, I wouldn't take the time to write a criticism of it. But there is some good in it, some points that make me feel that if you expend the effort(Look who's talking about expending the effort, I couldn't help thinking) you may well achieve your very worthy ambition. First of all, you have an ear for cadence. Your sentences flow rather smoothly, and the continuity of your paragraphs is quite good. Secondly, your imagery is sharp and clear-cut. I could smell that dank, rat-infested attic and I was more than a little in love with your pretty heroine by the time she emerged from her third paragraph. Furthermore, you occasionally achieve poetic effects which are pleasing. But, my darling niece, your villains have nothing but venom in their souls, and your sympathetic characters are ready to step right off into Paradise without one spot to tarnish their purity. People aren't like that, Julie. Take a look around you. Again, all your colors, your moods, your nusances, are essentially feminine, and it just doesn't ring true to be told that a man is responsible for them. No, Julie, it will be a long time before you speak and think and feel like an anguished old German musician of eighty! And, after all, what do you know about the problems of musical composition, or the life of an impoverised German laborer such as the landlord in his nineteenth-century environment? And how much do you know about sadism and brutality? I must talk to you about any number of points. When you get home from school tomorrow, I shall have some recommendations to make; also some assignments. I am quite excited. It well may be that I have the making of a future writer in my hands. Uncle Haskell

All this is probably for nothing,' she [her mother] said once we'd hatched the plan. 'Most likely I'll flunk out anyway.' To prepare, she shadowed me during the last months of my senior year of high school, doing all the homework that I was assigned, honing her skills. She replicated my worksheets, wrote the same papers I had to write, read every one of the books. I graded her work, using my teacher's marks as a guide. I judged her a shaky student at best. She went to college and earned straight As

The teachers introduced a program that explicitly trained the students to construct coherent arguments, with a focus on the connections between successive ideas. It was a radical shift from the kind of assignment that dominates high school writing instruction today, in which students are asked to write memoirs and personal reflections. The students showed dramatic improvements in their test scores in several subjects, and many more of them graduated from high school and applied to college. It’s no coincidence that

I am writing this during my free . . . oops! un-assigned period, at the end of my first day of teaching. So far, I have taught nothing — but I have learned a great deal. To wit: We have to punch a time clock and abide by the Rules. We must make sure our students likewise abide, and that they sign the time sheet whenever they leave or reenter a room. We have keys but no locks (except in lavatories), blackboards but no chalk, students but no seats, teachers but no time to teach. The library is closed to the students.

Dear Mr. Weston, Hello again. We were beginning to wonder what had happened to you. I guess things have been pretty quiet since the Salvation Army tried to take over the world. We are sorry, but after much deliberation we have elected not to assign any men to Protect Trillium Air Base. We feel that the Forces can protect themselves, and if they can't, who is going to protect the country? Also, thank you for sending us that shard of broken glass with the fingerprint on it. It was yours. Our mail clerk required four stitches and a tetanus shot. Relay our condolences to your Mr. Waghorn. We have no idea what unfortunate circumstance (for him) drew him to your ever-watchful attention, but he has no criminal record and his face is not known to us. Yours Sincerely, Bruce Hmmm, thought Sidney, Waghorn has no criminal record. "Let me see one of those," said Tom. "I'm sorry, Tom, but I can't show you the letters." Tom muttered something about a lack of trust. He was extremely alarmed at the intensity of Sidney's expression. As Sidney himself would have put it, the investigation was progressing. That meant trouble. There was always trouble when his brother got to the letter-writing stage. Tom would have to stay on his toes. Sidney opened the last letter. Dear Mr. Weston, Please stop bothering us. Cordially yours, The Ontario Provincial Police.

Well, take e-mail for example. People don’t write to each other anymore, do they? Once my generation’s gone, the written letter will be consigned to social history. Tell me, Jefferson. When did you last write a letter?’ Tayte had to think about it. When the occasion came to him, he smiled, wide and cheesy. ‘It was to you,’ he said. ‘I wrote you on your sixtieth birthday.’ ‘That was five years ago.’ ‘I still wrote you.’ Marcus looked sympathetic. ‘It was an e-mail.’ ‘Was it?’ Marcus nodded. ‘You see my point? Letters are key to genealogical research, and they’re becoming obsolete. Photographs are going the same way.’ He looked genuinely saddened by the thought. ‘How many connections have you made going through boxes of old letters and faded sepia photographs? How many assignments would have fallen flat without them?’ ‘Too many,’ Tayte agreed. ‘I can’t see genealogists of the future fervently poring over their clients’ old e-mails, can you? Where’s the fun in that? Where’s the excitement and the scent of time that so often accompanies the discovery?’ He had Tayte there, too. Tayte’s methods were straight out of the ‘Marcus Brown School of Family History.’ Tripping back into the past through an old letter and a few photographs represented everything he loved about his work. It wouldn’t be the same without the sensory triggers he currently took for granted.

He had been living in a down-town Y.M.C.A., but when he quit the task of making sow-ear purses out of sows' ears, he moved up-town and went to work immediately as a reporter for The Sun. He kept at this for a year, doing desultory writing on the side, with little success, and then one day an infelicitous incident peremptorily closed his newspaper career. On a February afternoon he was assigned to report a parade of Squadron A. Snow threatening, he went to sleep instead before a hot fire, and when he woke up did a smooth column about the muffled beats of the horses' hoofs in the snow… This he handed in. Next morning a marked copy of the paper was sent down to the City Editor with a scrawled note: "Fire the man who wrote this." It seemed that Squadron A had also seen the snow threatening—had postponed the parade until another day. A week later he had begun "The Demon Lover."… In

They tried to teach you to make lists in grade school, remember? Back when your day planner was the back of your hand. And if your assignments came off in the shower, well, then they didn’t get done. No direction, they said. No discipline. So they tried to get you to write it all down somewhere more permanent.

Contrary to popular belief, people always say "It was a pleasure doing business with you". It is the only thing that has stayed with me after an assignment. Always mix business with pleasure. That is a secret they don't want you to know. BUT never mix pleasure with business. Then you might just end up in a divorce.

I had often toyed with pictures of the future, dreamed of rôles which might be assigned to me—as a poet, maybe, or prophet or painter or kindred vocation. All that was futile. I was not there to write poetry, to preach or paint; neither I nor any other man was there for that purpose. They were only incidental things. There was only one true vocation for everybody—to find the way to himself. He might end as poet, lunatic, prophet or criminal—that was not his affair; ultimately it was of no account. His affair was to discover his own destiny, not something of his own choosing, and live it out wholly and resolutely within himself.

Parent and Teacher Actions: 1. Ask children what their role models would do. Children feel free to take initiative when they look at problems through the eyes of originals. Ask children what they would like to improve in their family or school. Then have them identify a real person or fictional character they admire for being unusually creative and inventive. What would that person do in this situation? 2. Link good behaviors to moral character. Many parents and teachers praise helpful actions, but children are more generous when they’re commended for being helpful people—it becomes part of their identity. If you see a child do something good, try saying, “You’re a good person because you ___.” Children are also more ethical when they’re asked to be moral people—they want to earn the identity. If you want a child to share a toy, instead of asking, “Will you share?” ask, “Will you be a sharer?” 3. Explain how bad behaviors have consequences for others. When children misbehave, help them see how their actions hurt other people. “How do you think this made her feel?” As they consider the negative impact on others, children begin to feel empathy and guilt, which strengthens their motivation to right the wrong—and to avoid the action in the future. 4. Emphasize values over rules. Rules set limits that teach children to adopt a fixed view of the world. Values encourage children to internalize principles for themselves. When you talk about standards, like the parents of the Holocaust rescuers, describe why certain ideals matter to you and ask children why they’re important. 5. Create novel niches for children to pursue. Just as laterborns sought out more original niches when conventional ones were closed to them, there are ways to help children carve out niches. One of my favorite techniques is the Jigsaw Classroom: bring students together for a group project, and assign each of them a unique part. For example, when writing a book report on Eleanor Roosevelt’s life, one student worked on her childhood, another on her teenage years, and a third on her role in the women’s movement. Research shows that this reduces prejudice—children learn to value each other’s distinctive strengths. It can also give them the space to consider original ideas instead of falling victim to groupthink. To further enhance the opportunity for novel thinking, ask children to consider a different frame of reference. How would Roosevelt’s childhood have been different if she grew up in China? What battles would she have chosen to fight there?

An enlightened man had but one duty--to seek the way to himself, to reach inner certainty, to grope his way forward, no matter where it led. The realization shook me profoundly, it was the fruit of this experience. I had often speculated with images of the future, dreamed of roles that I might be assigned, perhaps as poet or prophet or painter, or something similar. All that was futile. I did not exist to write poems, to preach or to paint, neither I nor anyone else. All of that was incidental. Each man had only one genuine vocation--to find the way to himself. He might end up as poet or madman, as prophet or criminal--that was not his affair, ultimately it was of no concern. His task was to discover his own destiny--not an arbitrary one--and live it out wholly and resolutely within himself. Everything else was only a would-be existence, an attempt at evasion, a flight back to the ideals of the masses, conformity and fear of one's own inwardness.

We are committed to involving as many people as possible, as young as possible, as soon as possible. Sometimes too young and too soon! But we intentionally err on the side of too fast rather than too slow. We don’t wait until people feel “prepared” or “fully equipped.” Seriously, when is anyone ever completely prepared for ministry? Ministry makes people’s faith bigger. If you want to increase someone’s confidence in God, put him in a ministry position before he feels fully equipped. The messages your environments communicate have the potential to trump your primary message. If you don’t see a mess, if you aren’t bothered by clutter, you need to make sure there is someone around you who does see it and is bothered by it. An uncomfortable or distracting setting can derail ministry before it begins. The sermon begins in the parking lot. Assign responsibility, not tasks. At the end of the day, it’s application that makes all the difference. Truth isn’t helpful if no one understands or remembers it. If you want a church full of biblically educated believers, just teach what the Bible says. If you want to make a difference in your community and possibly the world, give people handles, next steps, and specific applications. Challenge them to do something. As we’ve all seen, it’s not safe to assume that people automatically know what to do with what they’ve been taught. They need specific direction. This is hard. This requires an extra step in preparation. But this is how you grow people. Your current template is perfectly designed to produce the results you are currently getting. We must remove every possible obstacle from the path of the disinterested, suspicious, here-against-my-will, would-rather-be-somewhere-else, unchurched guests. The parking lot, hallways, auditorium, and stage must be obstacle-free zones. As a preacher, it’s my responsibility to offend people with the gospel. That’s one reason we work so hard not to offend them in the parking lot, the hallway, at check-in, or in the early portions of our service. We want people to come back the following week for another round of offending! Present the gospel in uncompromising terms, preach hard against sin, and tackle the most emotionally charged topics in culture, while providing an environment where unchurched people feel comfortable. The approach a church chooses trumps its purpose every time. Nothing says hypocrite faster than Christians expecting non-Christians to behave like Christians when half the Christians don’t act like it half the time. When you give non-Christians an out, they respond by leaning in. Especially if you invite them rather than expect them. There’s a big difference between being expected to do something and being invited to try something. There is an inexorable link between an organization’s vision and its appetite for improvement. Vision exposes what has yet to be accomplished. In this way, vision has the power to create a healthy sense of organizational discontent. A leader who continually keeps the vision out in front of his or her staff creates a thirst for improvement. Vision-centric churches expect change. Change is a means to an end. Change is critical to making what could and should be a reality. Write your vision in ink; everything else should be penciled in. Plans change. Vision remains the same. It is natural to assume that what worked in the past will always work. But, of course, that way of thinking is lethal. And the longer it goes unchallenged, the more difficult it is to identify and eradicate. Every innovation has an expiration date. The primary reason churches cling to outdated models and programs is that they lack leadership.

I wish to create a piece of work that produces a permanent mark in the record book of human existence. I also write to insulate myself from leading a meaningless life. Awareness of an inescapable mortality urges me to write at a frantic pace, in a hysterical attempt to assign a purpose to my life by creating something external that endures.

We know from several statements of Knecht's that he wanted to write the former Master's biography, but official duties left him no time for such a task. He had learned to curb his own wishes. Once he remarked to one of his tutors: "It is a pity that you students aren't fully aware of the luxury and abundance in which you live. But I was exactly the same when I was still a student. We study and work, don't waste much time, and think we may rightly call ourselves industrious–but we are scarcely conscious of all we could do, all that we might make of our freedom. Then we suddenly receive a call from the hierarchy, we are needed, are given a teaching assignment, a mission, a post, and from then on move up to a higher one, and unexpectedly find ourselves caught in a network of duties that tightens the more we try to move inside it. All the tasks are in themselves small, but each one has to be carried out at its proper hour, and the day has far more tasks than hours. That is well; one would not want it to be different. But if we ever think, between classrooms, Archives, secretariat, consulting room, meetings, and official journeys–if we ever think of the freedom we possessed and have lost, the freedom for self-chosen tasks, for unlimited, far-flung studies, we may well feel the greatest yearning for those days, and imagine that if we ever had such freedom again we would fully enjoy its pleasures and potentialities.

Popular authors do not and apparently cannot appreciate the fact that true art is obtainable only by rejecting normality and conventionality in toto, and approaching a theme purged utterly of any usual or preconceived point of view. Wild and “different” as they may consider their quasi-weird products, it remains a fact that the bizarrerie is on the surface alone; and that basically they reiterate the same old conventional values and motives and perspectives. Good and evil, teleological illusion, sugary sentiment, anthropocentric psychology—the usual superficial stock in trade, and all shot through with the eternal and inescapable commonplace…. Who ever wrote a story from the point of view that man is a blemish on the cosmos, who ought to be eradicated? As an example—a young man I know lately told me that he means to write a story about a scientist who wishes to dominate the earth, and who to accomplish his ends trains and overdevelops germs … and leads armies of them in the manner of the Egyptian plagues. I told him that although this theme has promise, it is made utterly commonplace by assigning the scientist a normal motive. There is nothing outré about wanting to conquer the earth; Alexander, Napoleon, and Wilhelm II wanted to do that. Instead, I told my friend, he should conceive a man with a morbid, frantic, shuddering hatred of the life-principle itself, who wishes to extirpate from the planet every trace of biological organism, animal and vegetable alike, including himself. That would be tolerably original. But after all, originality lies with the author. One can’t write a weird story of real power without perfect psychological detachment from the human scene, and a magic prism of imagination which suffuses theme and style alike with that grotesquerie and disquieting distortion characteristic of morbid vision. Only a cynic can create horror—for behind every masterpiece of the sort must reside a driving demonic force that despises the human race and its illusions, and longs to pull them to pieces and mock them.

Nora Ephron is a screenwriter whose scripts for Silkwood, When Harry Met Sally, and Sleepless in Seattle have all been nominated for Academy Awards. Ephron started her career as a journalist for the New York Post and Esquire. She became a journalist because of her high school journalism teacher. Ephron still remembers the first day of her journalism class. Although the students had no journalism experience, they walked into their first class with a sense of what a journalist does: A journalists gets the facts and reports them. To get the facts, you track down the five Ws—who, what, where, when, and why. As students sat in front of their manual typewriters, Ephron’s teacher announced the first assignment. They would write the lead of a newspaper story. The teacher reeled off the facts: “Kenneth L. Peters, the principal of Beverly Hills High School, announced today that the entire high school faculty will travel to Sacramento next Thursday for a colloquium in new teaching methods. Among the speakers will be anthropologist Margaret Mead, college president Dr. Robert Maynard Hutchins, and California governor Edmund ‘Pat’ Brown.” The budding journalists sat at their typewriters and pecked away at the first lead of their careers. According to Ephron, she and most of the other students produced leads that reordered the facts and condensed them into a single sentence: “Governor Pat Brown, Margaret Mead, and Robert Maynard Hutchins will address the Beverly Hills High School faculty Thursday in Sacramento. . .blah, blah, blah.” The teacher collected the leads and scanned them rapidly. Then he laid them aside and paused for a moment. Finally, he said, “The lead to the story is ‘There will be no school next Thursday.’” “It was a breathtaking moment,” Ephron recalls. “In that instant I realized that journalism was not just about regurgitating the facts but about figuring out the point. It wasn’t enough to know the who, what, when, and where; you had to understand what it meant. And why it mattered.” For the rest of the year, she says, every assignment had a secret—a hidden point that the students had to figure out in order to produce a good story.

He singled out aspects of Quality such as unity, vividness, authority, economy, sensitivity, clarity, emphasis, flow, suspense, brilliance, precision, proportion, depth and so on; kept each of these as poorly defined as Quality itself, but demonstrated them by the same class reading techniques. He showed how the aspect of Quality called unity, the hanging-togetherness of a story, could be improved with a technique called an outline. The authority of an argument could be jacked up with a technique called footnotes, which gives authoritative reference. Outlines and footnotes are standard things taught in all freshman composition classes, but now as devices for improving Quality they had a purpose. And if a student turned in a bunch of dumb references or a sloppy outline that showed he was just fulfilling an assignment by rote, he could be told that while his paper may have fulfilled the letter of the assignment it obviously didn’t fulfill the goal of Quality, and was therefore worthless.

Many children make up, or begin to make up, imaginary languages. I have been at it since I could write. But I have never stopped, and of course, as a professional philologist (especially interested in linguistic aesthetics), I have changed in taste, improved in theory, and probably in craft. Behind my stories is now a nexus of languages (mostly only structurally sketched). But to those creatures which in English I call misleadingly Elvesfn11 are assigned two related languages more nearly completed, whose history is written, and whose forms (representing two different sides of my own linguistic taste) are deduced scientifically from a common origin. Out of these languages are made nearly all the names that appear in my legends. This gives a certain character (a cohesion, a consistency of linguistic style, and an illusion of historicity) to the nomenclature, or so I believe, that is markedly lacking in other comparable things. Not all will feel this as important as I do, since I am cursed by acute sensibility in such matters.

Mountaineering, she understood, was an essential expression of some odd, immutable aspect of my personality that I could no sooner alter than change the color of my eyes. Then, in the midst of this delicate rapprochement, Outside magazine confirmed it was sending me to Everest. At first I pretended that I’d be going as a journalist more than a climber—that I’d accepted the assignment because the commercialization of Everest was an interesting subject and the money was pretty good. I explained to Linda and anyone else who expressed skepticism about my Himalayan qualifications that I didn’t expect to ascend very high on the mountain. “I’ll probably climb only a little way above Base Camp,” I insisted. “Just to get a taste of what high altitude is about.” This was bullshit, of course. Given the length of the trip and the time I’d have to spend training for it, I stood to make a lot more money staying home and taking other writing jobs. I accepted the assignment because I was in the grip of the Everest mystique. In truth, I wanted to climb the mountain as badly as I’d ever wanted anything in my life.

Tell me this- if you could have a guarantee that your child would be a National Merit Scholar and get into a prestigious college, have good work habits and a successful career, but that your relationship with him would be destroyed in the process, would you do it? Why not? Because you are made to love, that's why. We care about our relationships more than about our accomplishments. That's the way God made us. Then why don't we live that way? Why, come a damp and gloomy day in March, do we yell over a  math lesson or lose our temper over a writing assignment? Why do we see the lessons left to finish and get lost in an anxiety-ridden haze? We forget that we are dealing with a soul, a precious child bearing the Image of God, and all we can see is that there are only a few months left to the school year and we are still only halfway through the math book. When you are performing mommy triage- that is, when you have a crisis moment and have to figure out which fire to put out first- always choose your child. It's just a math lesson. It's only a writing assignment. It's a Latin declension. Nothing more. But your child? He is God's. And the Almighty put him in your charge for relationship. Don't damage that relationship over something so trivial as an algebra problem. And when you do (because you will, and so will I), repent. We like to feed our egos. When our children perform well, we can puff up with satisfaction and pat ourselves on the back for a job well done. But as important as it is to give our children a solid education (and it is important, don't misunderstand me), it is far more important that we love them well.  Our children need to know that the most important thing about them is not whether they finished their science curriculum or score well on the SAT. Their worth is not bound up in a booklist or a test score. Take a moment. Take ten. Look deep into your child's eyes. Listen, even when you're bored. Break out a board game or an old picture book you haven't read in ages. Resting in Him means relaxing into the knowledge that He has put these children in our care to nurture. And nurturing looks different than charging through the checklist all angst-like. Your children are not ordinary kids or ordinary people, because there are no ordinary kids or ordinary people. They are little reflections of the

One of my writing students sent me an article about Kincaid in The New York Times: “I’m not writing for anyone at all,” Ms. Kincaid said. “I’m writing out of desperation. I felt compelled to write to make sense of it to myself—so I don’t end up saying peculiar things like ‘I’m black and I’m proud.’ I write so I don’t end up as a set of slogans and clichés.” That is exactly what writing is supposed to do—take us into the real texture of life—no generalizations. Why did I assign Kincaid’s book to my Taos workshop? I guess I hoped people would make a leap from Antigua to my hometown. Yes, the mountains are gorgeous and we have a rich tricultural society. We don’t have the same problems as Antigua, but I wanted my students to be more than casual tourists buying tee-shirts and dripping with turquoise. I wanted them to look deeper. Understanding engenders care. I wanted them to care about Taos. But something else, too. I wanted them to experience that passion and vision are as important to nonfiction as to fiction, that nonfiction can be as much an act of imagination and exploration and discovery as fiction or poetry—and that exciting language is part of its power.

He spent two years in the extermination camp at Auschwitz. According to his own reluctant account, he came this close to going up a smokestack of a crematorium there: "I had just been assigned to the Sonderkommando," he said to me, "when the order came from Himmler to close the ovens down." Sonderkommando means special detail. At Auschwitz it meant a very special detail indeed--one composed of prisoners whose duties were to shepherd condemned persons into gas chambers, and then to lug their bodies out. When the job was done, the members of the Sonderkommando were themselves killed. The first duty of their successors was to dispose of their remains. Gutman told me that many men actually volunteered for the Sonderkommando. "Why?" I asked him. "If you would write a book about that," he said, "and give the answer to that question, that 'Why?'--you would have a very great book." "Do you know the answer?" I said. "No," he said, "That is why I would pay a great deal of money for a book with the answer in it." "Any guesses?" I said. "No," he said, looking me straight in the eye, "even though I was one of the ones who volunteered." He went away for a little while, after having confessed that. And he thought about Auschwitz, the thing he liked least to think about. And he came back, and he said to me: "There were loudspeakers all over the camp," he said, "and they were never silent for long. There was much music played through them. Those who were musical told me it was often good music--sometimes the best." "That's interesting," I said. "There was no music by Jews," he said. "That was forbidden." "Naturally," I said. "And the music was always stopping in the middle," he said, "and then there was an announcement. All day long, music and announcements." "Very modern," I said. He closed his eyes, remembered gropingly. "There was one announcement that was always crooned, like a nursery rhyme. Many times a day it came. It was the call for the Sonderkommando." "Oh?" I said. "Leichentärger zu Wache," he crooned, his eyes still closed. Translation: "Corpse-carriers to the guardhouse." In an institution in which the purpose was to kill human beings by the millions, it was an understandably common cry. "After two years of hearing that call over the loudspeakers, between the music," Gutman said to me, "the position of corpse-carrier suddenly sounded like a very good job.

Finally, the survey findings also lent a helping hand to those men who wanted to engage in some heartfelt wooing, by identifying the gestures that women view as most, and least, romantic. The top-ten list of gestures is shown below, along with the percentage of women who assigned each gesture maximum marks on the “how romantic is this” scale. Cover her eyes and lead her to a lovely surprise—40 percent Whisk her away somewhere exciting for the weekend—40 percent Write a song or poem about her—28 percent Tell her that she is the most wonderful woman that you have ever met—25 percent Run her a relaxing bath after she has had a bad day at work—22 percent Send her a romantic text or e-mail, or leave a note around the house—22 percent Wake her up with breakfast in bed—22 percent Offer her a coat when she is cold—18 percent Send her a large bouquet of flowers or a box of chocolates at her workplace—16 percent Make her a mix CD of her favorite music—12 percent Interestingly, it seems that gestures that reflect a form of escapism and surprise top the list, followed by those that reflect thoughtfulness, with blatant acts of materialism trailing in last place—scientific evidence, perhaps, that when it comes to romance, it really is the thought that counts.

She also taught me to write, by which I mean not simply organizing a set of sentences into a series of paragraphs, but organizing them as a means of investigation. When I was in trouble at school (which was quite often) she would make me write about it. The writing had to answer a series of questions: Why did I feel the need to talk at the same time as my teacher? Why did I not believe that my teacher was entitled to respect? How would I want someone to behave while I was talking? What would I do the next time I felt the urge to talk to my friends during a lesson? I have given you these same assignments. I gave them to you not because I thought they would curb your behavior—they certainly did not curb mine—but because these were the earliest acts of interrogation, of drawing myself into consciousness. Your grandmother was not teaching me how to behave in class. She was teaching me how to ruthlessly interrogate the subject that elicited the most sympathy and rationalizing—myself. Here was the lesson: I was not an innocent. My impulses were not filled with unfailing virtue. And feeling that I was as human as anyone, this must be true for other humans. If I was not innocent, then they were not innocent. Could this mix of motivation also affect the stories they tell? The cities they built? The country they claimed as given to them by God?

Preschoolers make a number of assumptions about words and their meaning as they acquire language, one of the most important of which is what the psychologist Ellen Markman calls the principle of mutual exclusivity. Simply put, this means that small children have difficulty believing that any one object can have two different names. The natural assumption of children, Markman argues, is that if an object or person is given a second label, then that label must refer to some secondary property or attribute of that object. You can see how useful this assumption is to a child faced with the extraordinary task of assigning a word to everything in the world. A child who learns the word elephant knows, with absolute certainty, that it is something different from a dog. Each new word makes the child's knowledge of the world more precise. Without mutual exclusivity, by contrast, if a child thought that elephant could simply be another label for dog, then each new word would make the world seem more complicated. Mutual exclusivity also helps the child think clearly. "Suppose," Markman writes, "a child who already knows 'apple' and 'red' hears someone refer to an apple as 'round.' By mutual exclusivity, the child can eliminate the object (apple) and its color (red) as the meaning of 'round' and can try to analyze the object for some other property to label.

Sir, you do understand that - officially - I'm not actually a centurion. I haven't even been assigned to a legion yet.' The general continued writing as he spoke. 'What was the name?' 'Corbulo, sir.' 'Corbulo, you have an officer's tunic and an officer's helmet; and you completed full officer training did you not?' Cassius nodded. He could easily recall every accursed test and drill. Though he'd excelled in the cerebral disciplines and somehow survived the endless marches and swims, he had rated poorly with sword in hand and had been repeatedly described as "lacking natural leadership ability." The academy's senior centurion had seemed quite relieved when the letter from the Service arrived. 'I did, sir, but it was felt I would be more suited to intelligence work than the legions, I really would prefer -' 'And you did take an oath? To Rome, the Army and the Emperor?' 'I did, sir, and of course I am happy to serve but -' The General finished the orders. He rolled the sheet up roughly and handed it to Cassius. 'Dismissed.' 'Yes, sir. Sorry, sir. I just have one final question.' The General was on his way back to his chair. He turned around and fixed Cassius with an impatient stare. 'Sir - how should I present myself to the troops? In terms of rank I mean.' 'They will assume you are a centurion, and I can see no practical reason whatsoever to disabuse them of that view.

How does someone know if they’re transgender?” “I like to think about it in terms of handedness,” Dr. Powers explains. “If I asked you to sign your name with your nondominant hand, it would feel weird. If I asked you to describe it to me, you’d probably say things like the pen doesn’t fit comfortably in my hand; or it’s awkward; or I have to try hard to make legible something that I can do with my other hand effortlessly. It feels forced. Even a kindergartner can tell you if they’re a righty or a lefty, even if they don’t have the words for it. It’s also true that while most people are righties, and a smaller sliver of the population are lefties, there are some people who can use either hand with equal facility. Years ago, if you were a lefty, teachers tried to break you into being right-handed. Eventually, someone realized that it’s perfectly okay to be left-handed. Right-handed people who don’t write with their left hand can still understand that some people might…even if they never do it themselves.” She looks at the jury. “This example is a really great way to understand what it means to be transgender. Everyone has a dominant gender identity. It’s not a preference, it’s not something you can change just because you feel like it—it’s just how you’re wired. Most people who are assigned male or female at birth feel their gender identity matches that label—they’re called cisgender. But transgender people know that being in the body they are in feels not quite right. Some know this when they’re very young. Some spend years feeling uncomfortable without really knowing why.

I dial her mum's number, then sit down cross-legged, facing the wall. When she comes on the line, she sounds uncertain, hesitant. 'Hey! Guess where I am?' I ask, my voice loud with false cheer. 'Rami told me. The Wellesly Hospital in Worthing. What's it like?' 'For a loony-bin it's actually quite decent,' I reply. 'I don't have Sky or an en-suite, and the menu isn't exactly à la carte, but you know...' I tail off. There is a silence. 'Do you have your own room?' Jenna asks, 'Oh yeah, yeah. I have a lovely view of the sea between the bars of my window.' She doesn't laugh. 'Have you started' -there is a pause as she searches for the right word -'threatment?' 'Yeah, yeah. We had group therapy today. Tomorrow we'll probably have art therapy - maybe I'll draw you a hourse and a garden. I know, perhaps they'll teach us to make baskets! Isn't that why they call us basket cases?' 'Flynn, stop,' Jennah softly implores. 'And we'll probably have music therapy the day after. Maybe I'll get to play the tambourine. Or the triangle. I've always wanted to play the triangle!' 'Flynn-' 'No, I'm serious! I'll ask for some manuscript paper and see if I can write a composition for tambourine and triangle. Then I can post if off to you to hand in for my next composition assignment.' 'Flynn, listen-' 'Hold on, hold on! I'm making a note to myself now: Find fellow insane musician and start composing the Flynn Laukonen Sonata for Tambourine and Triangle.' 'Flynn-' 'And then, when they let me out, if they ever let me out, perhaps you could pull a few strigns and organize for me and my tambourine buddy to give a recital. I'm not sure where though -how about the subway at Marble Arch tube? Nice and central, good acoustics-' 'What are the other people like?' Jennah cuts in, an edge to her voice. I notice she doesn't use the word patients. Clever Jennah. For a moment there you almost made me forget I was locked up in a mental institution. 'Round the bend, just like me,' I reply. 'I'm in excellent company. We'll be swapping suicide tips in no time at all!' I give a harsh laugh.

Moses, for example, was not, according to some interpretations of his story, the brash, talkative type who would organize road trips and hold forth in a classroom at Harvard Business School. On the contrary, by today’s standards he was dreadfully timid. He spoke with a stutter and considered himself inarticulate. The book of Numbers describes him as “very meek, above all the men which were upon the face of the earth.” When God first appeared to him in the form of a burning bush, Moses was employed as a shepherd by his father-in-law; he wasn’t even ambitious enough to own his own sheep. And when God revealed to Moses his role as liberator of the Jews, did Moses leap at the opportunity? Send someone else to do it, he said. “Who am I, that I should go to Pharaoh?” he pleaded. “I have never been eloquent. I am slow of speech and tongue.” It was only when God paired him up with his extroverted brother Aaron that Moses agreed to take on the assignment. Moses would be the speechwriter, the behind-the-scenes guy, the Cyrano de Bergerac; Aaron would be the public face of the operation. “It will be as if he were your mouth,” said God, “and as if you were God to him.” Complemented by Aaron, Moses led the Jews from Egypt, provided for them in the desert for the next forty years, and brought the Ten Commandments down from Mount Sinai. And he did all this using strengths that are classically associated with introversion: climbing a mountain in search of wisdom and writing down carefully, on two stone tablets, everything he learned there. We tend to write Moses’ true personality out of the Exodus story. (Cecil B. DeMille’s classic, The Ten Commandments, portrays him as a swashbuckling figure who does all the talking, with no help from Aaron.) We don’t ask why God chose as his prophet a stutterer with a public speaking phobia. But we should. The book of Exodus is short on explication, but its stories suggest that introversion plays yin to the yang of extroversion; that the medium is not always the message; and that people followed Moses because his words were thoughtful, not because he spoke them well.

The ethic of autonomy is based on the idea that people are, first and foremost, autonomous individuals with wants, needs, and preferences. People should be free to satisfy these wants, needs, and preferences as they see fit, and so societies develop moral concepts such as rights, liberty, and justice, which allow people to coexist peacefully without interfering too much in each other’s projects. This is the dominant ethic in individualistic societies. You find it in the writings of utilitarians such as John Stuart Mill and Peter Singer11 (who value justice and rights only to the extent that they increase human welfare), and you find it in the writings of deontologists such as Kant and Kohlberg (who prize justice and rights even in cases where doing so may reduce overall welfare). But as soon as you step outside of Western secular society, you hear people talking in two additional moral languages. The ethic of community is based on the idea that people are, first and foremost, members of larger entities such as families, teams, armies, companies, tribes, and nations. These larger entities are more than the sum of the people who compose them; they are real, they matter, and they must be protected. People have an obligation to play their assigned roles in these entities. Many societies therefore develop moral concepts such as duty, hierarchy, respect, reputation, and patriotism. In such societies, the Western insistence that people should design their own lives and pursue their own goals seems selfish and dangerous—a sure way to weaken the social fabric and destroy the institutions and collective entities upon which everyone depends. The ethic of divinity is based on the idea that people are, first and foremost, temporary vessels within which a divine soul has been implanted.12 People are not just animals with an extra serving of consciousness; they are children of God and should behave accordingly. The body is a temple, not a playground. Even if it does no harm and violates nobody’s rights when a man has sex with a chicken carcass, he still shouldn’t do it because it degrades him, dishonors his creator, and violates the sacred order of the universe. Many societies therefore develop moral concepts such as sanctity and sin, purity and pollution, elevation and degradation. In such societies, the personal liberty of secular Western nations looks like libertinism, hedonism, and a celebration of humanity’s baser instincts.13

They taught him how to milk cows and now they expected him to tame lions. Perhaps they expected him to behave like all good lion tamers. Use a whip and a chair. But what happens to the best lion tamer when he puts down his whip and his chair. Goddamnit! It was wrong. He felt cheated, he felt almost violated. He felt cheated for himself, and he felt cheated for guys like Joshua Edwards who wanted to teach and who didn’t know how to teach because he’d been pumped full of manure and theoretical hogwash. Why hadn’t anyone told them, in plain, frank English, just what to do? Couldn’t someone, somewhere along the line, have told them? Not one single college instructor? Not someone from the board of Ed, someone to orientate them after they’d passed the emergency exam? Not anyone? Now one sonofabitch somewhere who gave a good goddamn? Not even Stanley? Not even Small? Did they have to figure it out for themselves, sink and swim, kill or be killed? Rick had never been told how to stop in his class. He’d never been told what to do with a second term student who doesn’t even know how to write down his own goddamn name on a sheet of paper. He didn’t know, he’d never been advised on the proper tactics for dealing with a boy whose I.Q. was 66, a big, fat, round, moronic 66. He hadn’t been taught about kids’ yelling out in class, not one kid, not the occasional “difficult child” the ed courses had loftily philosophized about, not him. But a whole goddamn, shouting, screaming class load of them all yelling their sonofbitching heads off. What do you do with a kid who can’t read even though he’s fifteen years old? Recommend him for special reading classes, sure. And what do you do when those special reading classes are loaded to the asshole, packed because there are kids who can’t read in abundance, and you have to take only those who can’t read the worst, dumping them onto a teacher who’s already overloaded and those who doesn’t want to teach a remedial class to begin with? And what do you with that poor ignorant jerk? Do you call him on class, knowing damn well he hasn’t read the assignment because he doesn’t know how to read? Or do you ignore him? Or do you ask him to stop by after school, knowing he would prefer playing stickball to learning how to read. And knowing he considers himself liberated the moment the bell sounds at the end of the eighth period. What do you do when you’ve explained something patiently and fully, explained it just the way you were taught to explain in your education courses, explained in minute detail, and you look out at your class and see that stretching, vacant wall of blank, blank faces and you know nothing has penetrated, not a goddamn thing has sunk in? What do you do then? Give them all board erasers to clean. What do you do when you call on a kid and ask “What did that last passage mean?”and the kid stands there without any idea of what the passage meant , and you know that he’s not alone, you know every other kid in the class hasn’t the faintest idea either? What the hell do you do then? Do you go home and browse through the philosophy of education books the G.I bill generously provided. Do you scratch your ugly head and seek enlightenment from the educational psychology texts? Do you consult Dewey? And who the hell do you condemn, just who? Do you condemn elementary schools for sending a kid on to high school without knowing how to read, without knowing how to write his own name on a piece of paper? Do you condemn the masterminds who plot the education systems of a nation, or a state or a city?

THE OBEDIENCE GAME DUGGAR KIDS GROW UP playing the Obedience Game. It’s sort of like Mother May I? except it has a few extra twists—and there’s no need to double-check with “Mother” because she (or Dad) is the one giving the orders. It’s one way Mom and Dad help the little kids in the family burn off extra energy some nights before we all put on our pajamas and gather for Bible time (more about that in chapter 8). To play the Obedience Game, the little kids all gather in the living room. After listening carefully to Mom’s or Dad’s instructions, they respond with “Yes, ma’am, I’d be happy to!” then run and quickly accomplish the tasks. For example, Mom might say, “Jennifer, go upstairs to the girls’ room, touch the foot of your bed, then come back downstairs and give Mom a high-five.” Jennifer answers with an energetic “Yes, ma’am, I’d be happy to!” and off she goes. Dad might say, “Johannah, run around the kitchen table three times, then touch the front doorknob and come back.” As Johannah stands up she says, “Yes, sir, I’d be happy to!” “Jackson, go touch the front door, then touch the back door, then touch the side door, and then come back.” Jackson, who loves to play army, stands at attention, then salutes and replies, “Yes, sir, I’d be happy to!” as he goes to complete his assignment at lightning speed. Sometimes spotters are sent along with the game player to make sure the directions are followed exactly. And of course, the faster the orders can be followed, the more applause the contestant gets when he or she slides back into the living room, out of breath and pleased with himself or herself for having complied flawlessly. All the younger Duggar kids love to play this game; it’s a way to make practicing obedience fun! THE FOUR POINTS OF OBEDIENCE THE GAME’S RULES (MADE up by our family) stem from our study of the four points of obedience, which Mom taught us when we were young. As a matter of fact, as we are writing this book she is currently teaching these points to our youngest siblings. Obedience must be: 1. Instant. We answer with an immediate, prompt “Yes ma’am!” or “Yes sir!” as we set out to obey. (This response is important to let the authority know you heard what he or she asked you to do and that you are going to get it done as soon as possible.) Delayed obedience is really disobedience. 2. Cheerful. No grumbling or complaining. Instead, we respond with a cheerful “I’d be happy to!” 3. Thorough. We do our best, complete the task as explained, and leave nothing out. No lazy shortcuts! 4. Unconditional. No excuses. No, “That’s not my job!” or “Can’t someone else do it? or “But . . .” THE HIDDEN GOAL WITH this fun, fast-paced game is that kids won’t need to be told more than once to do something. Mom would explain the deeper reason behind why she and Daddy desired for us to learn obedience. “Mom and Daddy won’t always be with you, but God will,” she says. “As we teach you to hear and obey our voice now, our prayer is that ultimately you will learn to hear and obey what God’s tells you to do through His Word.” In many families it seems that many of the goals of child training have been lost. Parents often expect their children to know what they should say and do, and then they’re shocked and react harshly when their sweet little two-year-old throws a tantrum in the middle of the grocery store. This parental attitude probably stems from the belief that we are all born basically good deep down inside, but the truth is, we are all born with a sin nature. Think about it: You don’t have to teach a child to hit, scream, whine, disobey, or be selfish. It comes naturally. The Bible says that parents are to “train up a child in the way he should go: and when he is old, he will not depart from it” (Proverbs 22:6).