Author Of Your Own Story Quotes

The alchemist picked up a book that someone in the caravan had brought. Leafing through the pages, he found a story about Narcissus. The alchemist knew the legend of Narcissus, a youth who knelt daily beside a lake to contemplate his own beauty. He was so fascinated by himself that, one morning, he fell into the lake and drowned. At the spot where he fell, a flower was born, which was called the narcissus. But this was not how the author of the book ended the story. He said that when Narcissus died, the goddesses of the forest appeared and found the lake, which had been fresh water, transformed into a lake of salty tears. 'Why do you weep?' the goddesses asked. 'I weep for Narcissus," the lake replied. 'Ah, it is no surprise that you weep for Narcissus,' they said, 'for though we always pursued him in the forest, you alone could contemplate his beauty close at hand.' 'But... was Narcissus beautiful?' the lake asked. 'Who better than you to know that?' the goddesses asked in wonder. 'After all, it was by your banks that he knelt each day to contemplate himself!' The lake was silent for some time. Finally, it said: 'I weep for Narcissus, but I never noticed that Narcissus was beautiful. I weep because, each time he knelt beside my banks, I could see, in the depths of his eyes, my own beauty reflected.' 'What a lovely story,' the alchemist thought.

Keep being the author of your own story. Never let anyone else write it for you again.

There have been so many interpretations of the story that I'm not going to choose between them. Make your own choice. They contradict each other, the various choices. The only choice that really matters, the only interpretation of the story, if you want one, is your own. Not your teacher's, not your professor's, not mine, not a critic's, not some authority's. The only thing that matters is, first, the experience of being in the story, moving through it. Then any interpretation you like. If it's yours, then that's the right one, because what's in a book is not what an author thought he put into it, it's what the reader gets out of it.

Holding this book in your hand, sinking back in your soft armchair, you will say to yourself: perhaps it will amuse me. And after you have read this story of great misfortunes, you will no doubt dine well, blaming the author for your own insensitivity, accusing him of wild exaggeration and flights of fancy. But rest assured: this tragedy is not a fiction. All is true.

My readers have to work with me to create the experience. They have to bring their imaginations to the story. No one sees a book in the same way, no one sees the characters the same way. As a reader you imagine them in your own mind. So, together, as author and reader, we have both created the story.

Whenever you’re down on your luck, and when things aren’t going the way you like, remember that you are the author of your own story. You can write it any way you like, with anyone you choose. And it can be a beautiful story or a sad and tragic one. You get to pick.

Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.

The interior drama, therefore, is always the important one. The “story of your life” is written by you, by each reader of this book. You are the author. There is no reason, therefore, for you to view the drama and feel trapped by it. The power to change your own condition is your own. You have only to exercise it.

It is strange to both fit in everywhere and belong nowhere, to never feel completely at home outside of your own skin

Your life isn't some prerecorded movie where, no matter how many times you watch it, the ending remains the same. Your life is a book in progress, and you are the author. So if you don't care for the main character or the gloomy scenery or how the twisted plot is unfolding, then do something to change it. You write your own story.

Become your own success story, not someone else's.

I’ve always believed that as an author, I do 50% of the work of storytelling, and the reader does the other 50%. There’s no way I can control the story you tell yourself from my book. Your own experiences, preferences, prejudices, mood at the moment, current events in your life, needs and wants influence how you read my every word.

AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?

How do you get the happy ending? John Irving ought to know. One of my favorite authors, Irving writes these multigenerational epics of fiction that somehow work out in the end. How does he do it? He says, 'I always begin with the last sentence ; then I work my way backwards, through the plot, to where the story should begin.' That sounds like a lot of work, especially compared to the fantasy that great writers sit down and just go where the story takes them. Irving lets us know that good stories and happy endings are more intentional than that. Most 20 something's can't write the last sentence of their lives. But when pressed, they usually can identify things they want in their 30s or 40s or 60s -or things they don't want- and work backward from there. This is how you have your own multigenerational epic with a happy ending. This is how you live your life in real time.

Life. Life is a show. It's up to you how to make your own story, do your own show and how to live your show you are on. You choose who you need to meet, where you should have your scenes or which scenes you want to do. How awesome your mind can do right?

Holding this book in your hand, sinking back in your soft armchair, you will say to yourself: perhaps it will amuse me. And after you have read this story of great misfortunes, you will no doubt dine well, blaming the author for your own insensitivity, accusing him of wild exaggeration and flights of fancy. But rest assured: this tragedy is not a fiction. All is true.

Sometimes I think of my life as a great big story. Each silly thing I do is a new paragraph. And each morning I turn to the next chapter. It's fun to think of life that way, each day being an adventure of the grandest proportions. If I can give you any advice, my dear, and I am unworthy, at best, to be doling out such wisdom, I might just say this: Whenever you're down on your luck, and when things aren't going the way you like, remember that you are the author of your own story. You can write it any way you like, with anyone you choose. And it can be a beautiful story or a sad and tragic one. You get to pick.

Tell your story to inspired other people to rise up and live their dreams.

Where do storytellers find the wisdom to discover their own stories? From no place more mysterious than their own hearts.

Don’t interrupt when your characters take a flight of their own.

You're the author on your own life story.

How do you end a story that’s not yours? Add another sentence where there is a pause? Infiltrate the story with a comma when really there should have been a period? Punctuate with an exclamation point where a period would have sufficed? What if you kill something breathing and breathe life into something the author wanted to eliminate? How do you get inside the mind of a person who isn’t there? Fill the shoes of someone who will never again fill his own?

Remember that for all the books we have in print, are as many that have never reached print, have never been written down-even now, in this age of compulsive reverence for the written word, history, even social ethic, are taught by means of stories, and the people who have been conditioned into thinking only in terms of what is written-and unfortunately nearly all the products of our educational system can do no more than this-are missing what is before their eyes. For instance, the real history of Africa is still in the custody of black storytellers and wise men, black historians, medicine men: it is a verbal history, still kept safe from the white man and his predations. Everywhere, if you keep your mind open, you will find the words not written down. So never let the printed page be your master. Above all, you should know that the fact that you have to spend one year, or two years, on one book, or one author means that you are badly taught-you should have been taught to read your way from one sympathy to another, you should be learning to follow you own intuitive feeling about what you need; that is what you should have been developing, not the way to quote from other people.

Pa never told stories like Grandpa. Or treated the barn like family. Eli knew how Grandpa’s own pa had built the barn by hand, hauling bluestone for the foundation behind a stubborn ox with horns as wide as a tractor. How the smell of the plank walls was like family and how you never washed your chore coat so the animals would smell that you were family, too.

You are the author of your own life story. You have the leading role and get to determine how you interact with your supporting cast and other characters. Without realizing it, you may have allowed the events in your life to write your story for you rather than taking deliberate action to write it in your own voice. What will it take to love your life story to create the happy endings you desire?

Your life will contribute to a grand and wonderful story no matter what you do. You have been spoken. You are here, existing, choosing, living, shaping the future and carving the past. Your physical matter and your soul exist, not out of necessity, not voluntarily, and not under their own strength. There is absolutely nothing that you or I can do to guarantee that we will continue to exist. You aren't doing anything that makes you be. We aren't the Author. You and I are spoken. We have been called into this art as characters, born into this thread of occurrence tumbling downstream in the long Niagara of loss set in motion by the trouble that faced our first father and first mother. We will contribute to this narrative. But how?

Adults are not idiots often in books such as this one, the opposite impression is given. Adults in those stories will either (a) get captured, (b) disappear conspicuously when there is trouble, or (c) refuse to help. ( im not sure what authors have against adults, but everyone seems to hate them to an extent usually reserved for dogs and mothers. Why else make them out to make such idiots? "Ah look, the dark lord of evil has come to attack the castle! Annnd. ther's my lunch break. Have fun saving the word on your own kids") In the real world adults tend to get involved in everything whether you want them to or not. They won't disappear when the dark lord appears, though they may try to sue them. This discrepancy is yet another proof that most books are fantasies while this book is utterly true and invaluable. you see in this book, I will make it completely clear that adults are not idiots. they are however hairy Adults are like hairy kids who like to tell other what to do. Dispite what other books may claim they do have their uses, they can reach things on high shelves for instance... Regardless, i often wish that the two groups-adults and kids- could find a way to get along better. Some sort of treaty or something. The biggest problem is the adults have one of the most effective recruitment stratagies in the world. Give them enough time and they'll turn any kid into one of them.

All of us to one degree or another disconnect from God’s story because we are fundamentally committed to being the author of our own stories.

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

Live life in moments, not in days or years or your schedules. It’s our misconception—most of the time—that we live our lives the way we want. Every single step that we take is influenced by others. Only the part that we hide from everyone else and keep deep within our heart, is our own. I strongly urge you all to realize that hidden part of yours. Go, live that part. Live your life. Don’t let your dreams die within you. Trust me, your struggle, your fight, will be worth the risk in opening yourself up. Get up. Inhale the air of passion. Start your journey. Grab your dreams. Enjoy your mistakes. Dance to the rhythm of your heartbeats. Smile. Laugh. Love. Live.’ Author

For me alone Don Quixote was born and I for him. His was the power of action, mine of writing. Only we two are at one, despite that fictitious and Tordillescan scribe who has dared, and may dare again, to pen the deeds of my valorous knight with his coarse and ill-trimmed ostrich feather. This is no weight for his shoulders, no task for his frozen intellect; and should you chance to make his acquaintance, you may tell him to leave Don Quixote's weary and mouldering bones to rest in the grave, nor seek, against all the canons of death, to carry him off to Old Castile, or to bring him out of the tomb, where he most certainly lies, stretched at full length and powerless to make a third journey, or to embark on any new expedition. For the two on which he rode out are enough to make a mockery of all the countless forays undertaken by all the countless knights errant, such has been the delight and approval they have won from all to whose notice they have come, both here and abroad. Thus you will comply with your Christian profession by offering good counsel to one who wishes you ill, and I shall be proud and satisfied to have been the first author to enjoy the pleasure of witnessing the full effect of his own writing. For my sole object has been to arouse men's contempt for all fabulous and absurd stories of knight errantry, whose credit this tale of my genuine Don Quixote has already shaken, and which will, without a doubt, soon tumble to the ground. Farewell.

Just read The Virtue of Minding Your Own Business. Oh my, what currents run deep! Beautifully seen, beautifully told. Praise praise praise . . . Pardon my French, but you are one darn major American writer!" ---Richard Bach, author of Jonathan Livingston Seagull and Illusions, on Sandcastle and Other Stories

Does it get better when you're older?" "It did for me," Connor said. "How?" Bolt asked. "Someone lese believed in me," Connor said. "All it took was one person's approval and suddenly I believed in myself, too. It gave me a shield to block out all the doubt and negativity. It made me realize I was just as capable and deserving as the people I compared myself to. But you know what? I was wrong." "You were?" Bolt asked. "Totally," Conner said. "I didn't NEED someone else. I had confidence in myself, deep down inside, the whole time. Approval is just a shortcut to self-worth, but sometimes we have to find things out on our own. Sometimes if we want something bad enough, we have to inspire ourselves to get it. Sometimes we have to be our own superhero.

Excerpt from the endnote on the audiobook read by the author: "There have been so many interpretations of the story that I am not going to choose between them. Make your own choice. They contradict each other, the various choices. the only choice that really matters, the only interpretation of the story, if you want one, is your own. Not your teacher's, not your professor's, not mine, not a critic's, not some authority's. The only thing that matters is first, the experience of being in the story, moving through it. Then, any interpretation you like, if it is yours, that's the right one. Because what's in a book is not what an author thought he put into it, it's what the reader gets out of it.

Why is it important to look at fiction writing through the lens of emotional experience? Because that’s the way readers read. They don’t so much read as respond. They do not automatically adopt your outlook and outrage. They formulate their own. You are not the author of what readers feel, just the provocateur of those feelings. You may curate your characters’ experiences and put them on display, but the exhibit’s meaning is different in thousands of ways for thousands of different museum visitors, your readers. Not

The Idiot. I have read it once, and find that I don't remember the events of the book very well--or even all the principal characters. But mostly the 'portrait of a truly beautiful person' that dostoevsky supposedly set out to write in that book. And I remember how Myshkin seemed so simple when I began the book, but by the end, I realized how I didn't understand him at all. the things he did. Maybe when I read it again it will be different. But the plot of these dostoevsky books can hold such twists and turns for the first-time reader-- I guess that's b/c he was writing most of these books as serials that had to have cliffhangers and such. But I make marks in my books, mostly at parts where I see the author's philosophical points standing in the most stark relief. My copy of Moby Dick is positively full of these marks. The Idiot, I find has a few... Part 3, Section 5. The sickly Ippolit is reading from his 'Explanation' or whatever its called. He says his convictions are not tied to him being condemned to death. It's important for him to describe, of happiness: "you may be sure that Columbus was happy not when he had discovered America, but when he was discovering it." That it's the process of life--not the end or accomplished goals in it--that matter. Well. Easier said than lived! Part 3, Section 6. more of Ippolit talking--about a christian mindset. He references Jesus's parable of The Word as seeds that grow in men, couched in a description of how people are interrelated over time; its a picture of a multiplicity. Later in this section, he relates looking at a painting of Christ being taken down from the cross, at Rogozhin's house. The painting produced in him an intricate metaphor of despair over death "in the form of a huge machine of the most modern construction which, dull and insensible, has aimlessly clutched, crushed, and swallowed up a great priceless Being, a Being worth all nature and its laws, worth the whole earth, which was created perhaps solely for the sake of the advent of this Being." The way Ippolit's ideas are configured, here, reminds me of the writings of Gilles Deleuze. And the phrasing just sort of remidns me of the way everyone feels--many people feel crushed by the incomprehensible machine, in life. Many people feel martyred in their very minor ways. And it makes me think of the concept that a narrative religion like Christianity uniquely allows for a kind of socialized or externalized, shared experience of subjectivity. Like, we all know the story of this man--and it feels like our own stories at the same time. Part 4, Section 7. Myshkin's excitement (leading to a seizure) among the Epanchin's dignitary guests when he talks about what the nobility needs to become ("servants in order to be leaders"). I'm drawn to things like this because it's affirming, I guess, for me: "it really is true that we're absurd, that we're shallow, have bad habits, that we're bored, that we don't know how to look at things, that we can't understand; we're all like that." And of course he finds a way to make that into a good thing. which, it's pointed out by scholars, is very important to Dostoevsky philosophy--don't deny the earthly passions and problems in yourself, but accept them and incorporate them into your whole person. Me, I'm still working on that one.

You're the author of you own story.

The only way to get the ending you want is to write your own story.

Be The Leader, Author, & Star of Your Own Life Story!

Fictional Characters" Do they ever want to escape? Climb out of the white pages and enter our world? Holden Caulfield slipping in the movie theater to catch the two o'clock Anna Karenina sitting in a diner, reading the paper as the waitress serves up a cheeseburger. Even Hector, on break from the Iliad, takes a stroll through the park, admires the tulips. Maybe they grew tired of the author's mind, all its twists and turns. Or were finally weary of stumbling around Pamplona, a bottle in each fist, eating lotuses on the banks of the Nile. For others, it was just too hot in the small California town where they'd been written into a lifetime of plowing fields. Whatever the reason, here they are, roaming the city streets rain falling on their phantasmal shoulders. Wouldn't you, if you could? Step out of your own story, to lean against a doorway of the Five & Dime, sipping your coffee, your life, somewhere far behind you, all its heat and toil nothing but a tale resting in the hands of a stranger, the sidewalk ahead wet and glistening. "Fictional Characters" by Danusha Laméris from The Moons of August. © Autumn House Press, 2014. Reprinted with permission

Dare to write your life story in such a way that, if perchance, someone happens to read even a single sentence of it they will be compelled to take far greater care in the writing of their own sentences.

Let it hurt. Pick those flowers on your lungs and let it wither. Let your heart stop beating for someone who doesn’t deserves it. Let yourself be burn to your worst degree. Fall right down on your knees and scream the damn pain inside you. You’ve let the love to do its work, let it hurt. That’s part of its work. Let it bleed. Let the tears roll down your face. For once, allow yourself to be an artist. Let your mouth bleed with the unspoken feelings you’ve been wanting to say and be the author of your own story. Let the abstract in you be seen by the people who are doubting you. Do not cut your wrist, blood and scar might ruin your skin. I know, your heart was cut by the words they’ve stabbed on you, let it bleed with poetry and speak for yourself. Let it heal. For how many times people could’ve told you that time heals. Let me now tell you that it’s you, and you only, who could heal yourself. You could pick your broken pieces and build a better and stronger you. Let it heal, not for anyone. Let it heal for yourself. Even for once, let it be for yourself. And let it go. Snap out of the darkness you’re in right now. Let go of the pain that’s stopping you from moving forward. Let the toxic people go, you could’ve been better without them. Stop holding on to the anchor. Stop drowning yourself from sadness. You could always be happy. Just learn to let go of the things that keep you away from that possibility, just let go.

I think it was Asimov who once compared prose to windows. Some authors, he said— like Asimov himself— wrote in a style devoid of flourishes or lyricism, telling the story in a just the facts, ma’am kinda way. This is your standard clear-window prose; you don’t appreciate it, you don’t even notice it, but at least you’ve got a clear view of what’s going down on the other side. Others (Samuel Delany and China Miéville come to mind) write “stained-glass-window” prose: the words contain a kind of beauty in the way they’re put together, they draw attention to their own construction and invite whistles of admiration. The only problem with stained-glass windows is, the more ornate the pane, the tougher it is to see what’s on the other side.

In creating this miscellany, our goal is for you to find at least ten new-to-you and irresistible books by authors of backgrounds different from your own...that you'll read in the next year...The idea is to keep seeking out and reading diverse stories.

That's what writing fiction was, wasn't it? Processing your own life, answering all those questions in any way you wanted to, since fictional worlds operated with their own language and their own rules and their own timelines. They offered their own answers.

Let memories of your own hometown flow back to you as you read this fascinating story, "A Place called Gouyave," about the author's recollection of the characters, stories and the lessons learnt in his hometown during his youth on the Caribbean island of Grenada.

The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? but that really isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?

My overarching point is that the Gospels, and all the books of the Bible, are distinct and should not be read as if they are all saying the same thing. They are decidedly not saying the same thing—even when talking about the same subject (say, Jesus’ death). Mark is different from Luke, and Matthew is different from John, as you can see by doing your own horizontal reading of their respective stories of the crucifixion. The historical approach to the Gospels allows each author’s voice to be heard and refuses to conflate them into some kind of mega-Gospel that flattens the emphases of each one.

Sometimes I think of my life as a great big story. Each silly thing I do is a new paragraph. And each morning I turn to the next chapter. It’s fun to think of life that way, each day being an adventure of the grandest proportions. If I can give you any advice, my dear, and I am unworthy, at best, to be doling out such wisdom, I might just say this: Whenever you’re down on your luck, and when things aren’t going the way you like, remember that you are the author of your own story. You can write it any way you like, with anyone you choose. And it can be a beautiful story or a sad and tragic one. You get to pick.

There have been so many interpretations of the story that I'm not going to choose between them. Make your own choice. They contradict each other, the various choices. The only choice that really matters, the only interpretation of the story, if you want one, is your own. Not your teacher's, not your professor's, not mine, not a critic's, not some authority's. The only thing that matters is, first, the experience of being in the story, moving through it. Then any interpretation you like. If it's yours, then that's the right one, because what's in a book is not what an author thought he put into it, it's what the reader gets out of it

so thanks for supplying all the inspiration.” “But think of everything you came up with all on your own,” she said. “You would have done just fine without me. I wish I had your imagination. What’s your secret to making a story so good? Do you have any writing tricks or rituals?” Conner had never thought about it before. He thought back to the very first time he wrote a story and recalled a tool that had helped him write ever since. “Whenever I write, I imagine everything in Dad’s voice,” he said. “I try to describe everything with the same energy and enthusiasm he had when he read stories to us. Sometimes when I miss him the most, writing makes me feel like he’s there with me.

For what it's worth, I know how you feel," Conner told him. "I used to doubt myself a lot. When people told me I wasn't good enough, I believed them. It's hard not to when you're young." "Tell me about it," Bold said. "Does it get better when you're older?" "It did for me," Conner said. "How?" Bolt asked. "Someone else believed in me," Conner said. "All it took was one person's approval and suddenly I believed myself, too. It gave me a shield to block out all the doubt and negativity. It made me realize I was just as capable and deserving as the people I compared myself to. But you know what? I was wrong." "You were?" Bolt asked. "Totally," Conner said. "I didn't need someone else. I had confidence in myself, deep down inside, the whole time. Approval is just a shortcut to self-worth, but sometimes we have to find things out on your own. Sometimes if we want something bad enough, we have to inspire ourselves to get it. Sometimes we have to be our own superhero." Out of everything Conner said, he could tell this resonated with the boy the most. If he wanted to help people, maybe he had to start with himself. "But what if I fail?" Bolt asked. "What if the Snake Lord wins and I don't save anyone? Then I'll never be a superhero." "A very wise man once told me that 'courage is what makes a superhero super,'" Conner said. "He never sad anything about succeeding.

You were born to author your own story. This includes editing the bad parts. Go back. Repent. Climb where you fell. Joy where you sorrowed. Mend what you tore. Heal where you harmed. Speak where you were silent. Sing and laugh and dance where life once snatched your pen and scribbled black, ugly marks in your book. Buy new ink and print beautiful poetry over all the ugly parts.

Over time, we asked writers like the Brothers Grimm, Hans Christian Andersen, and Charles Perrault to publish the stories so they would live on forever. During that time, I realized how important storytelling is. While philosophy and science help enhance our mind and body, storytelling stimulates our spirit. It broadens our imagination, teaches us valuable lessons, shows us that things are not always as they seem, and encourages us to reach our greatest potential. With that said, I have a favor to ask of anyone reading this: Become a storyteller! Read to others the fairy tales in this book. Read them stories from another book. If you can, create your own stories to share. When you pass along the art of storytelling to your family and friends, you make the world a better place.

[N]ow that growing your own (food, dope, hair, younameit) is hip," wrote the author of an essay widely reprinted in alternative newspapers, "it's time to resurrect the Dope of the Depression - Homebrew." Homemade beer inspired "good vibrations" and a "pleasant high." Unlike the rest of "plastic, mass-produced shit" of modern America, homebrew represented "an exercise of craft" and empowered the "politically oriented" to retaliate against "Augustus [sic] Busch and the other fascists pigs who [were] ripping off the Common Man." "If you're looking for a cheap drunk," added the beer adviser, "go back to Gussie Busch. But if you dig the good vibes from using something you make yourself, plus an improvement in quality over the commercial shit," brew on, brothers and sisters, brew on.

And of course, if there's one thing we feel we can take as truth in these books it's Katniss and her narrative. But we should ask ourselves whether even this should be above suspicion. Like all first-person narrators, Katniss is her own editor with her own biases: she chooses how to present herself and those around her. Katniss has a stake in the story she's telling and what that stake is changes how she portrays the events and her emotional reaction to them.

Against these popular plans we here solemnly appeal. We say, let your rogues in novels act like rogues, and your honest men like honest men; don’t let us have any juggling and thimble-rigging with virtue and vice, so that, at the end of three volumes, the bewildered reader shall not know which is which; don’t let us find ourselves kindling at the generous qualities of thieves, and sympathising with the rascalities of noble hearts. For our own part, we know what the public likes, and have chosen rogues for our characters, and have taken a story from the “Newgate Calendar,” which we hope to follow out to edification. Among the rogues, at least, we will have nothing that shall be mistaken for virtues. And if the British public (after calling for three or four editions) shall give up, not only our rascals, but the rascals of all other authors, we shall be content: — we shall apply to Government for a pension, and think that our duty is done.

No matter how much you run, or fly or swim, you come back to the land. It’s like as if whatever mud is made up of, it is all beautifully transformed from the seeds that die to begin in the roots, from the roots that expand to grow into a trunk, from a trunk that stretches into branches and from branches that sprout leaves which birth stories before returning to honor the soil once again—just like your body will one day rest for a time in the garden of the Earth—knowing that there will be more stories by others who will follow set paths to find their own.

May the Ancient Author bless and keep you. May the Holy Hero be your rescuer forever. May the Story find you, through every painful passage, at home with him in the end. May you delight in his love and exalt in his victory then. May you always aspire to live as a character you admire. May you know the delight of finding out that the Story isn’t mainly about you. May you know and love the truth and be brave to obey it. May you make a hard dart at the darkness with whatever light you bring, reflecting, like the moon, a light far brighter than your own. May God give you joy!

The military authorities were concerned that soldiers going home on leave would demoralize the home population with horror stories of the Ostfront. ‘You are under military law,’ ran the forceful reminder, ‘and you are still subject to punishment. Don’t speak about weapons, tactics or losses. Don’t speak about bad rations or injustice. The intelligence service of the enemy is ready to exploit it.’ One soldier, or more likely a group, produced their own version of instructions, entitled ‘Notes for Those Going on Leave.’ Their attempt to be funny reveals a great deal about the brutalizing affects of the Ostfront. ‘You must remember that you are entering a National Socialist country whose living conditions are very different to those to which you have been accustomed. You must be tactful with the inhabitants, adapting to their customs and refrain from the habits which you have come to love so much. Food: Do not rip up the parquet or other kinds of floor, because potatoes are kept in a different place. Curfew: If you forget your key, try to open the door with the round-shaped object. Only in cases of extreme urgency use a grenade. Defense Against Partisans: It is not necessary to ask civilians the password and open fire upon receiving an unsatisfactory answer. Defense Against Animals: Dogs with mines attached to them are a special feature of the Soviet Union. German dogs in the worst cases bite, but they do not explode. Shooting every dog you see, although recommended in the Soviet Union, might create a bad impression. Relations with the Civil Population: In Germany just because someone is wearing women’s clothes does not necessarily mean that she is a partisan. But in spite of this, they are dangerous for anyone on leave from the front. General: When on leave back to the Fatherland take care not to talk about the paradise existence in the Soviet Union in case everybody wants to come here and spoil our idyllic comfort.

From an interview with Susie Bright: SB: You were recently reviewed by the New York Times. How do you think the mainstream media regards sex museums, schools and cultural centers these days? What's their spin versus your own observations? [Note: Here's the article Susie mentions: http://www.nytimes.com/2005/12/05/nat... ] CQ: Lots of people have seen the little NY Times article, which was about an event we did, the Belle Bizarre Bazaar -- a holiday shopping fair where most of the vendors were sex workers selling sexy stuff. Proceeds went to our Exotic Dancers' Education Project, providing dancers with skills that will help them maximize their potential and choices. This event got into the Times despite the worries of its author, a journalist who'd been posted over by her editor. She thought the Times was way too conservative for the likes of us, which may be true, except they now have so many column inches to fill with distracting stuff that isn't about Judith Miller! The one thing the Times article does not do is present the spectrum of the Center for Sex & Culture's work, especially the academic and serious side of what we do. This, I think, points to the real answer to your question: mainstream media culture remains quite nervous and touchy about sex-related issues, especially those that take sex really seriously. A frivolous take (or a good, juicy, shocking angle) on a sex story works for the mainstream press: a sex-positive and serious take, not so much. When the San Francisco Chronicle did its article about us a year ago, the writer focused just on our porn collection. Now, we very much value that, but we also collect academic journals and sex education materials, and not a word about those! I think this is one really essential linchpin of sex-negative or erotophobic culture, that sex is only allowed to be either light or heavy, and when it's heavy, it's about really heavy issues like abuse. Recently I gave some quotes about something-or-other for a Cosmo story and the editors didn't want to use the term "sexologist" to describe me, saying that it wasn't a real word! You know, stuff like that from the Times would not be all that surprising, but Cosmo is now policing the language? Please!

Through the fall, the president’s anger seemed difficult to contain. He threatened North Korea with “fire and fury,” then followed up with a threat to “totally destroy” the country. When neo-Nazis and white supremacists held a rally in Charlottesville, Virginia, and one of them killed a protester and injured a score of others, he made a brutally offensive statement condemning violence “on many sides … on many sides”—as if there was moral equivalence between those who were fomenting racial hatred and violence and those who were opposing it. He retweeted anti-Muslim propaganda that had been posted by a convicted criminal leader of a British far-right organization. Then as now, the president’s heedless bullying and intolerance of variance—intolerance of any perception not his own—has been nurturing a strain of insanity in public dialogue that has been long in development, a pathology that became only more virulent when it migrated to the internet. A person such as the president can on impulse and with minimal effort inject any sort of falsehood into public conversation through digital media and call his own lie a correction of “fake news.” There are so many news outlets now, and the competition for clicks is so intense, that any sufficiently outrageous statement made online by anyone with even the faintest patina of authority, and sometimes even without it, will be talked about, shared, and reported on, regardless of whether it has a basis in fact. How do you progress as a culture if you set out to destroy any common agreement as to what constitutes a fact? You can’t have conversations. You can’t have debates. You can’t come to conclusions. At the same time, calling out the transgressor has a way of giving more oxygen to the lie. Now it’s a news story, and the lie is being mentioned not just in some website that publishes unattributable gossip but in every reputable newspaper in the country. I have not been looking to start a personal fight with the president. When somebody insults your wife, your instinctive reaction is to want to lash out in response. When you are the acting director, or deputy director, of the FBI, and the person doing the insulting is the chief executive of the United States, your options have guardrails. I read the president’s tweets, but I had an organization to run. A country to help protect. I had to remain independent, neutral, professional, positive, on target. I had to compartmentalize my emotions. Crises taught me how to compartmentalize. Example: the Boston Marathon bombing—watching the video evidence, reviewing videos again and again of people dying, people being mutilated and maimed. I had the primal human response that anyone would have. But I know how to build walls around that response and had to build them then in order to stay focused on finding the bombers. Compared to experiences like that one, getting tweeted about by Donald Trump does not count as a crisis. I do not even know how to think about the fact that the person with time on his hands to tweet about me and my wife is the president of the United States.

A not-so-easy pill to swallow, is the fact that much of the time, you are fighting monsters that you yourself have fashioned. Yes, there are toxic relationships, toxic individuals, but there also exists the monsters that you have fashioned with your own mind. You think you are being chased, captured, wounded, by these monsters when in fact you alone are composed of the entire capability to dismantle them piece-by-piece, because in reality they exist in your mind and you have fashioned them as the creator of your inner world, as the author of your own epic tale. In this sense, you may reassemble your world and you may remake the plot of your own story. The key is realising how much of the darkness is actually your own doing, digging for their roots, and figuring out how to begin dismantling.

The most important form of selfishness involves spending time on your fitness, eating right, pursuing your career, and still spending quality time with your family and friends. If you neglect your health or your career, you slip into the second category—stupid—which is a short slide to becoming a burden on society. I blame society for the sad state of adult fitness in the Western world. We’re raised to believe that giving of ourselves is noble and good. If you’re religious, you might have twice as much pressure to be unselfish. All our lives we are told it’s better to give than to receive. We’re programmed for unselfish behavior by society, our parents, and even our genes to some extent. The problem is that our obsession with generosity causes people to think in the short term. We skip exercise to spend an extra hour helping at home. We buy fast food to save time to help a coworker with a problem. At every turn, we cheat our own future to appear generous today. So how can you make the right long-term choices for yourself, thus being a benefit to others in the long run, without looking like a selfish turd in your daily choices? There’s no instant cure, but a step in the right direction involves the power of permission. I’m giving you permission to take care of yourself first, so you can do a better job of being generous in the long run. What? You might be wondering how a cartoonist’s permission to be selfish can help in any way. The surprising answer is that it can, in my opinion. If you’ve read this far, we have a relationship of sorts. It’s an author-reader relationship, but that’s good enough.

Long ago, an eminent professor of philosophy interrupted a lecture on Descartes to relate this story to the class: “A friend I hadn’t seen for years told me, ‘Do you know what your most obvious personal trait is? It’s this.’ ” The trait itself remained a secret; we had to guess. The professor continued: “I couldn’t believe it. It seemed absurd. Absolutely absurd. When I got home that day I told my wife, ‘Can you believe what my friend described as my most obvious personal trait? This!’ And my wife said, ‘But of course.’ ” Seeing things that are too close instead of too distant to make out clearly is one definition of philosophy and the philosophical method. “How hard I find it,” writes Wittgenstein, “to see what is right in front of my eyes!”14 Authorities agree: we do not know ourselves. So it is no surprise, after all, that we do not know the spectrum that describes our own minds.

There is a light adversarial relationship between publishers and authors that I think probably works effectively. But that’s why I was very quiet about writing. I don’t know what made me write it. I think I just wanted to finish the story so that I could have a good time reading it. But the process was what made me think that I should do it again, and I knew that that was the way I wanted to live. I felt very coherent when I was writing that book. But I still didn’t call myself a writer. And it was only with my third book, Song of Solomon, that I finally said—not at my own initiative I’m embarrassed to tell you but at somebody else’s initiative—“This is what I do.” I had written three books. It was only after I finished Song of Solomon that I thought, “Maybe this is what I do only.” Because before that I always said that I was an editor who also wrote books or a teacher who also wrote. I never said I was a writer. Never. And it’s not only because of all the things you might think. It’s also because most writers really and truly have to give themselves permission to win. That’s very difficult, particularly for women. You have to give yourself permission, even when you’re doing it. Writing every day, sending books off, you still have to give yourself permission. I know writers whose mothers are writers, who still had to go through a long process with somebody else—a man or editor or friend or something—to finally reach a point where they could say, “It’s all right. It’s okay.” The community says it’s okay. Your husband says it’s okay. Your children say it’s okay. Your mother says it’s okay. Eventually everybody says it’s okay, and then you have all the okays. It happened to me: even I found a moment after I’d written the third book when I could actually say it. So you go through passport and customs and somebody asks, “What do you do?” And you print it out: WRITE.

It’s a heady question, how women balance these concerns. Recently, the question has found its way back to the center of a contentious and very emotional debate. If you’re Sheryl Sandberg, the chief operating officer of Facebook and author of Lean In, you believe that women should stop getting in their own way as they pursue their professional dreams—they should speak up, assert themselves, defend their right to dominate the boardroom and proudly wear the pants. If you’re Anne-Marie Slaughter, the former top State Department official who wrote a much-discussed story about work-life balance for The Atlantic in June 2012, you believe that the world, as it is currently structured, cannot accommodate the needs of women who are ambitious in both their professions and their home lives—social and economic change is required. There’s truth to both arguments. They’re hardly mutually exclusive. Yet this question tends to get framed, rather tiresomely, as one of how and whether women can “have it all,” when the fact of the matter is that most women—and men, for that matter—are simply trying to keep body and soul together. The phrase “having it all” has little to do with what women want. If anything, it’s a reflection of a widespread and misplaced cultural belief, shared by men and women alike: that we, as middle-class Americans, have been given infinite promise, and it’s our obligation to exploit every ounce of it. “Having it all” is the phrase of a culture that, as Adam Phillips implies in Missing Out, is tyrannized by the idea of its own potential.

There are three key things that matter in having a voice: audibility, credibility, and consequence. Audibility means that you can be heard, that you have not been pressed into silence or kept out of the areas of where you can speak or write or denied the education to do so or in the age of social media, been harassed and threatened and driven off the platform as so many have. Credibility means that when you get into those arenas, people are willing to believe you, by which I don't mean that women never lie, but that stories should be measured on their own terms and context, rather than patriarchy's insistence that women are categorically unqualified to speak. Emotional, rather than rational. Vindictive, incoherent, delusional, manipulative. Unfit to be heeded. Those things often shouted over a women in the process of saying something challenging. Though now death threat are used as a short-cut, and some of those threats are carried out. Notably with women who leave their abusers, because silencing can be conversational or can be premeditated murder. To be a person of consequence is to matter. If you matter, you have rights, and your words serve those rights. And give you the power to bear witness, make agreements, set boundaries. If you have consequence, your words possess the authority to determine what does and does not happen to you. The power that underlies the concept of consent as part of equality in self-determination. Even legally, women's words have lacked consequence. And only in a few scattered places on earth, could women vote before the 20th century, and not so many decades ago, women rarely became lawyers and judges.

It will be seen that this mere painstaking burrower and grubworm of a poor devil of a Sub-Sub appears to have gone through the long Vaticans and street-stalls of the earth, picking up whatever random allusions to whales he could anyways find in any book whatsoever, sacred or profane. Therefore you must not, in every case at least, take the higgledy-piggledy whale statements, however authentic, in these extracts, for veritable gospel cetology. Far from it. As touching the ancient authors generally, as well as the poets here appearing, these extracts are solely valuable or entertaining, as affording a glancing bird's eye view of what has been promiscuously said, thought, fancied, and sung of Leviathan, by many nations and generations, including our own. So fare thee well, poor devil of a Sub-Sub, whose commentator I am. Thou belongest to that hopeless, sallow tribe which no wine of this world will ever warm; and for whom even Pale Sherry would be too rosy-strong; but with whom one sometimes loves to sit, and feel poor-devilish, too; and grow convivial upon tears; and say to them bluntly, with full eyes and empty glasses, and in not altogether unpleasant sadness — Give it up, Sub-Subs! For by how much the more pains ye take to please the world, by so much the more shall ye for ever go thankless! Would that I could clear out Hampton Court and the Tuileries for ye! But gulp down your tears and hie aloft to the royal-mast with your hearts; for your friends who have gone before are clearing out the seven-storied heavens, and making refugees of long-pampered Gabriel, Michael, and Raphael, against your coming. Here ye strike but splintered hearts together — there, ye shall strike unsplinterable glasses!

called in Boogie Yaalon, whom I had recently appointed as defense minister, to hear the American proposal with me. Allen laid out a presentation of US technological monitors that would be placed along the border. He said this would obviate the need for permanently stationed Israeli forces along the Jordan. As for the internal policing against terrorism within the Palestinian areas, the US would train the Palestinian security forces to do the job. I responded that shortly after Israel left Gaza, those same Palestinian Authority security forces caved to Hamas terrorists. “This is different,” Kerry said. “These forces would be trained by us.” He then made an extraordinary proposal. “Bibi, I want to arrange a clandestine visit for you to Afghanistan. You’ll see with your own eyes what a great job we did there to prepare the Afghan army to take over the country once we leave.” Yaalon and I looked at each other. Our glances said everything. “John,” I said, “the minute you leave Afghanistan the Taliban will mop up the force you trained in no time.” Boogie concurred completely. In 2021, that is exactly what happened. Once the US withdrew its last forces, the US-trained Afghan military crumbled into dust in a matter of days. I remembered a similar discussion with another secretary of state, George Shultz, who made the same argument to encourage our withdrawal from Lebanon. The US was training the Lebanese Army to take over the country. I argued that once we left Lebanon, radical forces would grab control. Lacking the cohesive zealotry of the radicals, the American-trained forces would collapse or become irrelevant. That’s exactly what happened when we withdrew from Lebanon in May 2000. Hezbollah took over the country in no time.

July 8, 2013 Review of Bargain with the Devil Author: Gloria Gravitt Moulder My interest in the death of Margaret Mitchell was sparked as a young child growing up in Georgia. I was born in 1953, 4 years after her death. Older relatives, neighbors and friends would sit around discussing her death as I was growing up and with the inquisitive mind of a young child; I found what they were saying interesting enough to listen in. They talked about how the taxi cab driver, Hugh Gravitt, (some of which knew him as this was a small southern town where everyone knew everyone) was not a drinker because of his health and how the newspaper articles had written he was drunk and speeding when it wasn’t true. I overheard many things about how the media was wrong regarding the circumstances of her death. Some speculated she committed suicide; others suspected her husband pushed her in front of the car Mr. Gravitt was driving. All commented that both Margaret and John were drunk and jaywalking across Peachtree Street. I read the book (Gone with the Wind) when I was 13 and went to see the movie in 1969 at the Fox theatre with friends. I cannot relate how this impacted me. I became interested in all I heard as a child again and over the years have read many articles on the subject of Margaret Mitchell and John Marsh. I never believed the stories about Hugh Gravitt being at fault in her death as a result of all those conversations I had overheard by my elders as a child. Gloria Gravitt Moulder, the daughter of Hugh Gravitt, has written the perfect book called “Bargain with the Devil” with facts derived from her own father on his death bed. I could not put this book down; I read it in one day. It has confirmed everything I heard from people who suspected in the few years after Margaret Mitchell’s death what actually happened. Thank you Mrs. Moulder, for your courage in bringing your father’s version to light after all his suffering from 1949 to his death. Also, for confirming my beliefs in what I heard growing up as this was only suspicion until I read about your father’s version. Kathy Whiten 621 Brighton Drive Lawrenceville, GA 30043 404-516-0623

Praise for THIS TENDER LAND “If you liked Where the Crawdads Sing, you’ll love This Tender Land by best-selling author William Kent Krueger. This story is as big-hearted as they come.” —Parade Magazine “If you’re among the millions who raced through Where the Crawdads Sing this year and are looking for another expansive, atmospheric American saga, look to the latest from Krueger.” —Entertainment Weekly “Rich with graceful writing and endearing characters… this is a book for the ages.” —The Denver Post “There are very few books (or movies, for that matter) that you can describe as ‘epic.’ But This Tender Land is just that.… This story will make you look at the world from a variety of viewpoints, as you watch these lost souls befriend one another in order to form their own unbreakable family unit.” —Suspense Magazine “[The characters’] adventures are heartstirring and their view of our complex nation, in particular the upper Midwest, is encyclopedic, if an encyclopedia could stir your heart as well as your brain.” —Sullivan County Democrat “Reminiscent of Huck and Jim and their trip down the Mississippi, the bedraggled youngsters encounter remarkable characters and learn life lessons as they escape by canoe down the Gilead River in Minnesota.” —Bookpage “Long, sprawling, and utterly captivating, readers will eat up every delicious word of it.” —New York Journal of Books “Krueger has crafted an American saga, epic in scope, a glorious and grand adventure that speaks of the heart and history of this country.” —Addison Independent (Vermont) “More than a simple journey; it is a deeply satisfying odyssey, a quest in search of self and home. Richly imagined and exceptionally well plotted and written, the novel is, most of all, a compelling, often haunting story that will captivate both adult and young adult readers.” —Booklist “Absorbing and wonderfully paced, this fictional narrative set against historical truths mesmerizes the reader with its evocations of compassion, courage, and self-discovery.… This Tender Land is a gripping, poignant tale swathed in both mythical and mystical overtones.” —Bob Drury, New York Times bestselling author of The Heart of Everything That Is “This Tender Land is a moving portrait of a time and place receding from the collective memory, but leaving its mark on the heart of what the nation has become.” —CrimeReads

Maxims & Other Quotes If you need an adjective or adverb, you're still fishing for he right noun or verb. 34 Was this a true story? It seemed somehow unimaginable, a fantasy of some kind. But he told it with such conviction that, against my own wishes, I believed him. Was this indeed the essence of storytelling? Did one simply have to relate a tale in a believable fashion, with the authority of the imagination? 36 Memory is a mirror that may easily shatter. 81 Readers become invisible even to themselves. Only the story lives. It’s the fate of the writer, yes, as well, to disappear. ~ Alastair Reid 83 ‘There is only now,’ Borges exclaimed with unstoppable force. ‘Act, dear boy! Do not procrastinate! It’s the worst of sins. I’ve thought about this, you see: the progression toward evil. Murder, this is very bad, a sin. It leads to thievery. And thievery, of course, leads to drunkenness and Sabbath-breaking. And Sabbath-breaking leads to incivility and at last procrastination. A slippery slope into the pit!’ 98 Borges: I no longer need to save face. This is one of the benefits of extreme age. Nothing matters much, and very little matters at all. 100 Borges: Believe me, you will one day read Don Quixote with a profound sense of recollection. This happens when you read a classic. It finds you where you have been. 102 Parini: I try not to think of the phallus, except when I can think of nothing else, which is most of the time. Borges: This is the fate of young men, a limited focus. One of the few advantages of my blindness has been that I no longer focus my eyes on objects of arousal. I look inward now, though the mind has mountains, dangerous cliffs. 105 Borges: Writers are always pirates, marauding, taking whatever pleases them from others, shaping these stolen goods to our purposes. Writers feed off the corpses of those who passed before them, their precursors. On the other hand they invent their precursors. They create them in their own image, as God did with man.108 Borges: Nobody can teach you anything. That’s the first truth. We teach ourselves. 115 Borges: One should avoid strong emotion, especially when it interferes with the work at hand. We have European blood in our veins, you and I. Mine is northern blood. We’re cold people, you see. Warriors. 125 Borges: The influence of Quixote was such that Sancho acquired a taste for literary wisdom. Such wisdom in his aphorisms! ‘One can find a remedy for everything but death.’ Or this: ‘Make yourself into honey and the flies will devour you.’ 151 Borges: You see, I designed my work for the tiniest audience, ‘fit company though few.’ A writer’s imagination should not be diluted by crowds! 151 Borges: If you don’t abandon the spirit, the spirit will not abandon you. 181

Each person has their own journey and while we may not know the whole story of why we are here, what we can believe is that being spiritual is not something we do, it is something that we 'are' and how you choose to experience your spirituality and your souls journey is up to you.

Stories provide a form, a mold. And a good story, one that's retold for generations, demands you pour the messy contents of your own life into it to see what happens as it hardens and sets.

Philosophic thoughts allow people to use human reason and imagination to consider eternal matters and explore the ramifications of their own transience. American author Joan Didion postulated that we tell ourselves stories in order to live. Conceivably a personal crisis propels a person to delve into creating a guiding philosophy for living with reduced mental and emotional turmoil. Alternatively, perhaps we tell stories to examine, explain, and justify our failures.

The most interesting thing about writing a memoir is that people read it and automatically, think they have you pegged. You know? It would appear, an open book to your soul. But, I penned my own a decade ago. It was about a specific time. I'm not even the same person from one minute to the next, let alone a decade ago. So whatever you think you know about me, whatever crazy you've decided I am or fit, just remember... it's probably worse!

I had the opportunity to edit this book for the author, and I have to say it is one of the best novels I have ever read. Tremendously insightful and full of all sorts of fascinating characters and surprise plot twists. Many plot threads that start out seemingly separate are eventually woven together into a stunning story and will cause you to reflect on the path your own life is taking and why. Highly recommended." - D. A. Cartier, Amazon customer

You bring the stars, and I'll give you the moon. Plot holes in novels are like pot holes that damage your car. Don't leave any. I'm just another asshole with an opinion. Just because you hated a book, doesn't mean I didn't love it. I don't have time for fuckery. I'll always support an author, then the reader. I write to please me first. I'm that selfish & obnoxious. Only you can stand by your book. If you believe in it, be its cheerleader. The rest will come with time. Can't think of a word, make one up. Fantasy will always be my home. It's a place to escape the fuckery. When shit hits the fan, read a book. I'm human, and I make mistakes. I may never be one of the great writers, but at least I'm a damn good one. You want brutal honesty, don't ask me for my opinion. I will never be a literary great, but at least I can say that I had fun. What the world needs is a great story. No, it doesn't always have to be perfect. Give me errors, and I'll give you an author who is human. Yes, I'm arrogant enough to make up my own quotes. ;)

As author Shauna Niequist describes in her book Cold Tangerines, it takes a kind of courage to choose the genre of your own story: When you realize that the story of your life could be told a thousand different ways, that you could tell it over and over as a tragedy, but you choose to call it an epic, that’s when you start to learn what celebration is. When what you see in front of you is so far outside of what you dreamed, but you have the belief, the boldness, the courage to call it beautiful instead of calling it wrong, that’s celebration.31 When you are the author of your own life, you get to decide what makes it into your story—what defines you and drives you and paints the scenes of your existence. And through your actions and your reactions, you also get to decide what scenes don’t make the cut.

..."When we go to tell our stories, people think we want it to have gone different. People want to say things like “sore losers” and “move on already,” “quit playing the blame game.” But is it a game? Only those who have lost as much as we have see the particularly nasty slice of smile on someone who thinks they’re winning when they say “Get over it.” This is the thing: If you have the option to not think about or even consider history, whether you learned it right or not, or whether it even deserves consideration, that’s how you know you’re on board the ship that serves hors d’oeuvres and fluffs your pillows, while others are out at sea, swimming or drowning, or clinging to little inflatable rafts that they have to take turns keeping inflated, people short of breath, who’ve never even heard of the words hors d’oeuvres or fluff. Then someone from up on the yacht says, “It’s too bad those people down there are lazy, and not as smart and able as we are up here, we who have built these strong, large, stylish boats ourselves, we who float the seven seas like kings.” And then someone else on board says something like, “But your father gave you this yacht, and these are his servants who brought the hors d’oeuvres.” At which point that person gets tossed overboard by a group of hired thugs who’d been hired by the father who owned the yacht, hired for the express purpose of removing any and all agitators on the yacht to keep them from making unnecessary waves, or even referencing the father or the yacht itself. Meanwhile, the man thrown overboard begs for his life, and the people on the small inflatable rafts can’t get to him soon enough, or they don’t even try, and the yacht’s speed and weight cause an undertow. Then in whispers, while the agitator gets sucked under the yacht, private agreements are made, precautions are measured out, and everyone quietly agrees to keep on quietly agreeing to the implied rule of law and to not think about what just happened. Soon, the father, who put these things in place, is only spoken of in the form of lore, stories told to children at night, under the stars, at which point there are suddenly several fathers, noble, wise forefathers. And the boat sails on unfettered."...

You are the author of your own life story, write it down with a happy ending.

In the 1930s, Dr John Brinkley sold a ‘miracle cure’ for impotence. It involved transplanting goat testicles into men’s scrotums. The procedure didn’t work. Brinkley would usually operate drunk, and maimed and killed a lot of his patients. His medical license was revoked, and the authorities took out full page advertisements in the Journal of the American Medical Association, warning the public not to deal with him. None of this stopped Brinkley from becoming — for a time — one of America’s wealthiest and most loved men. He was able to do this because he built an audience of his own, and nurtured it carefully with entertaining stories. You see, Brinkley’s patients did not read the Journal of the American Medical Association. What they did do was listen to the several radio stations that Brinkley controlled. Every day, he would take to the airwaves and speak for hours on end to promote his goat gonad treatments. He’d tell colourful stories that chided impotent men, and cajoled their wives into buying his procedure. (His story is told in the book Charlatan, if you’re interested.) When you have an audience and you have stories that people want to hear, it’s very difficult to stop you. With an audience of your own, you can change things, you can sell things, you can get people to give you money to put goat parts in their testicles. If people want to hear from you, good luck to anybody who gets in your way.

WISDOM KEEPER: My Extraordinary Journey to Unlock the Sacred Within “Chloe’s heartfelt journey is the real deal here to inspire us all. She takes the reader on a journey of darkness to light, struggle to freedom, fear to love. Thank you, Chloe, for this incredible ride. A must read for all who want true transformation.”— Dr. Shannon South, Award-Winning Therapist, Best-Selling Author, and Founder of the Ignite Your Life and business programs “There is a healing purpose in every experience written by Chloe in this spiritual memoir. She shares processes for healing in the physical, emotional and spiritual realms, showing us our ability to use all levels of energy to achieve deep and lasting healing. Chloe reveals to us the importance of connection—with the spiritual and physical world, and our past lives to the present. She reminds us we are essential in the Universe; when we heal, our loved ones, people around us, and the Earth also heals. Chloe inspires us to do the same thing. Well done. I appreciate it very much. This book is truly for everyone. — Eduardo Morales, Shamanic Curandero, Tepoztlán, Mexico “WISDOM KEEPER is filled with wonderful personal experiences on the power of healing, visualizations, dreams, and listening to our inner voices. Chloe Kemp describes encounters with others on a multitude of levels, including sacred beings, shamans, and other deep-souled humans. This book inspires the reader to go deep within themselves and invite their own personal self-healer to emerge. Chloe helps us to understand that anything is possible.”—River Guerguerian, Sound Immersion Healer, Musician, Composer, and Educator  “Having met and worked with Chloe personally, I know she is a genuine woman with a mission and clear determination to fulfill her purpose in this life. She has followed the call from Spirit to share stories from her life and wisdom she has gained, weaving energies and expressing a frequency of consciousness that has a way of bringing readers to a deeper state of awareness and potency upon their own unique journey. Chloe's book shines a light on our ability to reconnect with the origin of what makes us each a special part of the Divine plan, and she does it in a very humble and approachable way."—Michael Brasunas, Holistic Energy Healer and Bodyworker “Your inspiring memoir is engaging and thought-provoking throughout. It brings together the highest spiritual insights and practical frameworks that everyone can understand and apply.”—Louise, Australia  “A fascinating read!”—Caleb, USA  “The narrative is immensely raw and deeply personal. It engaged all of my emotions completely.”—Abantika, India   “A remarkable story.”—Michael, USA “The writing style is amazing.Your life experiences are so unique.”—Taibaya, Pakistan  “You have a gift for spiritual healing and telling a story. You created a hopeful, sincere, compelling, interesting, and important story.”—Jessica, USA “You tell events, dreams, and moments in your life in a very engaging and thought-provoking way.”—Josh, USA  “Very entertaining, awakening, and engaging; as well as informative, practical, motivating and inspiring.”—Susan, USA      

The universe has many stories, just as you have your own.

[If] you want to write a book about your spiritual experience without including yourself and revealing anything of authenticity of your own heart and your own experience and your own journey and your own story - why would anybody trust you? If you're not connecting with people authentically and sharing your vulnerability; sharing your Heart Voice, then it's just a bunch of blah-blah-blah-spiritual-book-blah-blah. No-one needs that! Who needs that? There's enough of that in the world.

EVERY HERO IS LOOKING FOR A GUIDE When I talk about a guide, I’m talking about our mother and father when they sat us down to talk about integrity, or a football coach who helped us understand the importance of working hard and believing we could accomplish more than we ever thought possible. Guides might include the authors of poems we’ve read, leaders who moved the world into new territory, therapists who helped us make sense of our problems, and yes, even brands that offered us encouragement and tools to help us overcome a challenge. If a hero solves her own problem in a story, the audience will tune out. Why? Because we intuitively know if she could solve her own problem, she wouldn’t have gotten into trouble in the first place. Storytellers use the guide character to encourage the hero and equip them to win the day. You’ve seen the guide in nearly every story you’ve read, listened to, or watched: Frodo has Gandalf, Katniss has Haymitch, and Luke Skywalker has Yoda. Hamlet was “guided” by his father’s ghost, and Romeo was taught the ways of love by Juliet. Just like in stories, human beings wake up every morning self-identifying as a hero. They are troubled by internal, external, and philosophical conflicts, and they know they can’t solve these problems on their own. The fatal mistake some brands make, especially young brands who believe they need to prove themselves, is they position themselves as the hero in the story instead of the guide. As I’ve already mentioned, a brand that positions itself as the hero is destined to lose.

Parental anxiety isn’t new. Parents have worried about their kids ever since having kids was a thing, but we believe it’s worse now than before. Why? For one, we have a lot more information than we’ve ever had before. In days past, we had to be okay with not being able to reach our kids at every waking minute. Now it’s almost a mandate that we know their every move. Barry Glasser, a top sociologist and author of The Culture of Fear, concludes that “most Americans are living in the safest place at the safest time in human history,” but it doesn’t feel that way because 24/7 news and social media inundate us with scary story after scary story about kidnappings, drug overdoses, and freak occurrences that, in their ubiquity, muddy our perspective.1 This, combined with an increasingly litigious culture, has dramatically changed the way we think of “danger.” Let your six-year-old climb a tree and you’re considered careless. Let your eight-year-old walk to school on her own and you’re positively neglectful.

Remember that you are the author of your own story, and you deserve a damn good one.

1. How much did you know about the culture Julia Haart grew up in before you read the book? What were some things that surprised you? 2. Religions come with many rules. What do you think religious rules provide for followers? 3. Talk about the role of women in the cloistered community. What are their responsibilities? Are the ideal standards to which they are held consistent with their realities? What other faiths tout similar views? 4. Julia has a very complicated view of her mother. How do you think that this informs her own role as a mother to four children? What example do you think her journey sets for them? 5. What traits from her upbringing, if any, do you think Julia has brought with her to her new life? 6. Have you ever experienced a situation in which you had to set boundaries or leave behind a group in order to be true to yourself? What feelings did you have surrounding that? What was the result? 7. Julia references many of the difficulties that some people who leave her former community face. How do you think her assertion that the community “forced them to be unprepared for modernity” ultimately serves to ensure its continuity? 8. Ultra-Orthodox Jews cite modesty and simplicity as the foundation of their values, yet Julia describes the high costs associated with following the community’s strict traditions and customs. How does this materialism conflict with the community’s values? How is it similar to materialism in the secular world? 9. Discuss your reaction to the fact that Julia was not born into ultra-Orthodox Judaism. How do you think her life might have been different if her mother and father had not converted? 10. Toward the end of the book, Julia states, “Every time I win, it makes me stronger and more able to handle the next attack that comes my way…. Now I listen to my own voice.” In what other ways has Julia demonstrated that same resolve throughout her life? 11. Seven years after leaving behind her community, Julia says she feels closer to a higher power than she ever did when she was religious. What does her memoir say about religion versus spirituality? 12. The memoir takes place in the period before My Unorthodox Life aired on Netflix in 2021. Did you watch the show before you read Brazen? What surprised you about Julia’s story that wasn’t addressed in the show? Did learning more of her backstory from the book change your understanding of Julia’s life on screen in any way? ABOUT THE AUTHOR Julia Haart is the CEO, co-owner, and chief creative officer of Elite World Group.

You are the author of your own life story. A journey that never truly ends. How will the final chapter unfold? That depends on the truths that you have penned. ~ Sadie K. Frazier

Before you invest in a company or a mentor, delve into their educational journey. Seek authenticity, and distinguish between those with genuine life experiences and those who merely package someone else's story as their own. Your investments should echo true wisdom, not just borrowed narratives.

What people love is the idea of freedom. They love to think that they are not slaves. They go to great lengths to convince themselves they are independent, and that no one can boss them around. But reality tells a different story. Most people badly want some parent figure—whether that's a teacher, president, gang leader, pope, guru, God, or Santa Claus—to whom they can delegate their power of choice, for they would much rather trust anyone other than themselves. Having to figure things out on their own and take responsibility for their lives is too scary of a prospect. Following a path is much easier than creating one. This accounts for the popularity of dogma; and this is why, despite all the rhetoric suggesting otherwise, real freedom terrifies people. What they crave is not freedom but authority figures to give them orders. If I can go on record with another runner-up for the most undemocratic sentence of all times . . . most people seem to be born to obey commands. They probably resent the commands, often complain about them, and occasionally secretly break them only to feel guilty later, but the truth is they would be totally lost without them. If you try to take away their chains, they'll scream and shout because their security, their very identity, is in their chains. Give them real freedom and they'll run back to their dogmas crying “please mama hold me tight.” Dogma is what reassures them and lulls them to sleep at night. “No, dear child—dogma whispers softly in their ears—you don't need to venture alone in that big, scary world. Stay by my side instead, and I will always take care of you. I promise you will never have to make difficult choices all by yourself. I will map out the path for you, and all you'll have to do is follow. You will never be lost again.” Forget freedom as a family value. Real freedom is scary. Real freedom is for people with broad shoulders and big hearts.

Adulthood is like a dog going to the vet; we’re all excited for the car ride until we realize where we’re actually going.” – Author Unknown

Becoming an adult is like looking both ways before you cross the street and then getting hit by an airplane.” – Author Unknown

207, 2nd Floor, 3rd Main Rd, Chamrajpet, Bengaluru, Karnataka 560018 Call – +91 7022122121 Kannada Books Purchase: Veeraloka Books: Discover the World of Literature At the heart of Karnataka's vibrant literary tradition are its rich cultural heritage and nothing better exemplifies that than Kannada books. Veeraloka Books is the ideal destination for all of your book needs if you're a fan of Kannada literature, from timeless classics to contemporary works. Veeraloka Books is now a trusted name for book lovers looking to add to their Kannada collection Why shop for Kannada books from Veeraloka Books? Veeraloka Books is more than just a bookstore; it is also a point of entry into the vast realm of Kannada literature. Veeraloka Books caters to every kind of reader, whether you're just starting out or have a long history of reading. Veeraloka Books ought to be your first choice for Kannada books for the following reasons: Complete Collection: The selection of Kannada books offered by Veeraloka Books spans genres. The collection is intended to appeal to a wide range of readers' preferences and includes everything from children's books and biographies to short stories, essays, poetry, and historical narratives. Famous Authors: Investigate the works of Kannada literary icons like Da and Kuvempu. Ra. Bendre, K. Shivaram Karanth, and U.R. Ananthamurthy, as well as contemporary authors who are influencing contemporary Kannada literature, are all examples. Veeraloka Books guarantees that you will have access to the best works by contemporary and established authors. Special Editions: Rare and exclusive limited-edition prints of classic Kannada books are frequently available at Veeraloka Books. Veeraloka is a treasure trove for bibliophiles who value one-of-a-kind editions. Cost-effective Pricing: Veeraloka Books makes sure that readers don't have to give up quality for price when purchasing Kannada books. You won't have to break the bank to build your own personal library thanks to low prices and frequent sales. Simple Shopping Experience Online: Veeraloka Books has embraced technology to provide a seamless online shopping experience as digital platforms have grown in popularity. From the convenience of your own home, you can browse, select, and Kannada Books Purchase. It has never been easier to buy Kannada books thanks to a website that is easy to use and offers quick delivery options. Top Novel and Fiction Genres to Explore: Immerse yourself in vivid characters and immersive narratives that highlight Kannada culture, history, and society. Poetry: Through timeless poetry collections, discover the splendor of Kannada verse. Motivation and self-help: Leading Kannada authors can serve as sources of guidance and inspiration for personal development and success. Literature for Kids: Engaging tales and folklore from Kannada's long history will enchant your children. Support the Local Literature and Language By selecting Veeraloka Books for your Kannada book purchases, you are not only supporting the Kannada language and its extensive literary heritage. Veeraloka Books is dedicated to distributing regional literature to readers all over the world. In conclusion, Veeraloka Books provides an unparalleled buying experience for Kannada books. It is the ideal location for readers to immerse themselves in the world of Kannada literature due to its extensive collection, reasonable prices, and straightforward online shopping. Veeraloka Books has something for everyone, whether you're looking for contemporary writings or classic novels. Make your way over to Veeraloka Books right now to get lost in the splendor of Kannada literature!

JADE: picture that this is all you have ever known of this story. the only way it would ever occur to you that the story could be understood by another. JADE: and then, one day, you meet me. JADE: you look me up and down, and regard me as the discrete, specific individual that i am. JADE: and i decide to tell you this story again, using my own voice. JADE: and it sounds exactly like this: JADE: a martyr died and said fuck. ARADIA: huh... JADE: does this change the way you perceive the story you were originally familiar with? ARADIA: i guess a little bit ARADIA: it’s certainly a different way of hearing it ARADIA: but at least you didnt change any words so i guess its not all that different JADE: exactly. JADE: i didn’t change any words. JADE: but then, it was a very short story i told, wasn’t it? ARADIA: sure was JADE: now imagine it was much longer, and that was only the first line. ARADIA: thats easy to imagine ARADIA: his was a long story JADE: quite true. JADE: a story as short as the one we’ve been using cannot accomplish much when it comes to guiding and manipulating one’s awareness and emotions. JADE: it is compact, ostensibly commanding a simple and meditative moment of reflection, as a short poem might. JADE: the narrative it delivers is freighted with inference. it is a pattern imprinted upon the imagination consisting solely of cognitive dark matter, or a sort of notional negative space. JADE: but longer stories have the power to draw consciousness into them. they possess arresting and hypnotic qualities which can be used by their tellers to alter the awareness of the listener. JADE: again, i’d like you to imagine this is the only way you’ve ever known this story. JADE: but then it continues... JADE: a martyr died and said fuck. JADE: his final howl of profanity reverberated through the ages. JADE: it inspired his devotees during the darkest times of a brutal regime. JADE: his lessons were guarded, kept secret, espoused in the shadows of tyranny. JADE: a vision of peace would inspire those who’d never conceived of it. JADE: and though his death was gruesome, it opened the world to a feeling of hope. JADE: this hope echoed through the ages. JADE: it gave his disciples the strength to persist as they perished in droves. JADE: it was the only light to shine on a dark planet for millions of sweeps. JADE: and if you are one so devoted to his teachings, who sees truth in his words, JADE: it may be said with great authority that you are wrong. JADE: you are foolish to believe his lies. his martyrdom is false, his sacrifice hollow. JADE: repent for your adherence to this illusion now, and perhaps leniency will be your reward. ARADIA: 0_0 ARADIA: what just happened there JADE: i brought to your attention that the story you were listening to had a speaker with a specific identity. JADE: and where there is an identity, there can also be an agenda. JADE: i gained the power to bend your consciousness to become more amenable to my narrative agenda by lulling you into a more receptive state through the established rhythm of the story’s telling. JADE: this was only possible because you were not initially questioning the identity of the teller, or even considering that there was an identity to consider. ARADIA: i guess youre right JADE: hence, we may view any story as speakerless, or spoken, so as to bring designations to the duality i have just presented.

Kannada writing is one of the most seasoned and most extravagant scholarly customs in India, tracing all the way back to north of 1,000 years. Known for its significant narrating and graceful profundity, Kannada authors includes a great many sorts, from exemplary stories to contemporary books, verse, and social discourses. Veera Loka Books praises this heritage by offering an organized assortment of works by eminent Kannada writers, furnishing perusers with admittance to immortal stories and current points of view. Tradition of Kannada Writing Kannada authors has delivered a portion of India's best writers and writers, contributing fundamentally to Indian scholarly legacy. Throughout the long term, Kannada creators have investigated subjects of reasoning, otherworldliness, social change, and individual personality. Works from artists like Pampa, Ranna, and Basavanna mirror the early graceful customs and philosophical idea in Kannada, while present day creators like Kuvempu, U. R. Ananthamurthy, and S. L. Bhyrappa bring complex accounts that dig into society, culture, and the human mind. Veera Loka Books: A Center for Kannada Writing Veera Loka Books is committed to advancing Kannada writing by furnishing perusers with admittance to exemplary and contemporary works by acclaimed Kannada writers. From books and brief tales to verse assortments and youngsters' books, Veera Loka Books offers something for each peruser, encouraging a more profound association with the language and culture of Karnataka. Highlighted Kannada Writers Accessible at Veera Loka Books Kuvempu - Known as Karnataka's most memorable Jnanpith awardee, Kuvempu is commended for his verse and books that reflect profound otherworldliness and human qualities. His works, like Malegalalli Madumagalu and Sri Ramayana Darshanam, are immortal works of art that keep on moving perusers across ages. U. R. Ananthamurthy - A focal figure in present day Kannada writing, Ananthamurthy is famous for his striking stories that question social and social standards. His original Samskara, a significant investigate of standing and conventionality, is a fundamental perused for anybody investigating Kannada writing. S. L. Bhyrappa - Known for his point by point, philosophical narrating, Bhyrappa's books frequently tackle topics of custom, history, and existential inquiries. Works like Parva and Saartha grandstand his scholarly profundity and sharp perceptions of society. Poornachandra Tejaswi - As the child of Kuvempu, Tejaswi cut his own specialty in Kannada writing with works that feature provincial life, nature, and human connections. His books like Karvalo offer a one of a kind viewpoint on life in Karnataka. Vaidehi - A main female voice in Kannada writing, Vaidehi's accounts are praised for their responsiveness, particularly in portraying ladies' encounters. Her works point out the subtleties of daily existence and social issues, making them interesting and powerful. Why Pick Veera Loka Books? Veera Loka Books is in excess of a book shop - it's a stage to encounter the best of Kannada writing. By offering works from observed Kannada writers, Veera Loka Books assists perusers with interfacing with their social roots, find novel thoughts, and appreciate enthralling stories. Whether you're a long lasting peruser or new to Kannada writing, Veera Loka Books gives the ideal choice to begin or develop your excursion into this lively scholarly custom. Investigate the huge universe of Kannada writing with Veera Loka Books and drench yourself in stories that mirror the essence of Karnataka.

Choose the narrative of your life. Build the Character which you admire. Live the Character religiously. Believe in your own story & finally Be the author of your own story of life

Rather than a state of equal brotherhood and sisterhood, Kim had introduced an elaborate social order in which the eleven million ordinary North Korean citizens were classified according to their perceived political reliability. The songbun system, as it was known, ruthlessly reorganized the entire social system of North Korea into a communistic pseudofeudal system, with every individual put through eight separate background checks, their family history taken into account as far back as their grandparents and second cousins. Your final rating, or songbun, put you in one of fifty-one grades, divided into three broad categories, from top to bottom: the core class, the wavering class, and the hostile class. The hostile class included vast swathes of society, from the politically suspect (“people from families of wealthy farmers, merchants, industrialists, landowners; pro-Japan and pro-U.S. people; reactionary bureaucrats; defectors from the South; Buddhists, Catholics, expelled public officials”) to kiaesaeng (the Korean equivalent of geishas) and mudang (rural shamans). Although North Koreans weren’t informed of their new classification, it quickly became clear to most people what class they had been assigned. North Koreans of the hostile class were banned from living in Pyongyang or in the most fertile areas of the countryside, and they were excluded from any good jobs. There was virtually no upward mobility—once hostile, forever hostile—but plenty downward. If you were found to be doing anything that was illegal or frowned upon by the regime, you and your family’s songbun would suffer. Personal files were kept locked away in local offices, and were backed up in the offices of the Ministry for the Protection of State Security and in a blast-resistant vault in the mountains of Yanggang province. There was no way to tamper with your status, and no way to escape it. The most cunning part of it all was that Kim Il-Sung came up with a way for his subjects to enforce their own oppression by organizing the people into inminban (“people’s groups”), cooperatives of twenty or so families per neighborhood whose duty it was to keep tabs on one another and to inform on any potentially criminal or subversive behavior. These were complemented by kyuch’aldae, mobile police units on constant lookout for infringers, who had the authority to burst into your home or office at any time of day or night. Offenses included using more than your allocated quota of electricity, wearing blue jeans, wearing clothes bearing Roman writing (a “capitalist indulgence”) and allowing your hair to grow longer than the authorized length. Worse still, Kim decreed that any one person’s guilt also made that person’s family, three generations of it, guilty of the same crime. Opposing the regime meant risking your grandparents, your wife, your children—no matter how young—being imprisoned and tortured with you. Historically, Koreans had been subject to a caste system similar to India’s and equally as rigid. In the early years of the DPRK, the North Korean people felt this was just a modernized revitalization of that traditional social structure. By the time they realized something was awfully wrong, that a pyramid had been built, and that at the top of it, on the very narrow peak, sat Kim Il-Sung, alone, perched on the people’s broken backs, on their murdered families and friends, on their destroyed lives—by the time they paused and dared to contemplate that their liberator, their savior, was betraying them—in fact, had always betrayed them—it was already much, much too late.