Authors Brilliant Quotes

A man can only lead when others accept him as their leader, and he has only as much authority as his subjects give to him. All of the brilliant ideas in the world cannot save your kingdom if no one will listen to them.

What can you say about a twenty-five-year-old girl who died? That she was beautiful. And brilliant. That she loved Mozart and Bach. And the Beatles. And me.

The worst thing is not that the world is unfree, but that people have unlearned their liberty. The more indifferent people are to politics, to the interests of others, the more obsessed they become with their own faces. The individualism of our time. Not being able to fall asleep and not allowing oneself to move: the marital bed. If high culture is coming to an end, it is also the end of you and your paradoxical ideas, because paradox as such belongs to high culture and not to childish prattle. You remind me of the young men who supported the Nazis or communists not out of cowardice or out of opportunism but out of an excess of intelligence. For nothing requires a greater effort of thought than arguments to justify the rule of nonthought… You are the brilliant ally of your own gravediggers. In the world of highways, a beautiful landscape means: an island of beauty connected by a long line with other islands of beauty. How to live in a world with which you disagree? How to live with people when you neither share their suffering nor their joys? When you know that you don’t belong among them?... our century refuses to acknowledge anyone’s right to disagree with the world…All that remains of such a place is the memory, the ideal of a cloister, the dream of a cloister… Humor can only exist when people are still capable of recognizing some border between the important and the unimportant. And nowadays this border has become unrecognizable. The majority of people lead their existence within a small idyllic circle bounded by their family, their home, and their work... They live in a secure realm somewhere between good and evil. They are sincerely horrified by the sight of a killer. And yet all you have to do is remove them from this peaceful circle and they, too, turn into murderers, without quite knowing how it happened. The longing for order is at the same time a longing for death, because life is an incessant disruption of order. Or to put it the other way around: the desire for order is a virtuous pretext, an excuse for virulent misanthropy. A long time a go a certain Cynic philosopher proudly paraded around Athens in a moth-eaten coat, hoping that everyone would admire his contempt for convention. When Socrates met him, he said: Through the hole in your coat I see your vanity. Your dirt, too, dear sir, is self-indulgent and your self-indulgence is dirty. You are always living below the level of true existence, you bitter weed, you anthropomorphized vat of vinegar! You’re full of acid, which bubbles inside you like an alchemist’s brew. Your highest wish is to be able to see all around you the same ugliness as you carry inside yourself. That’s the only way you can feel for a few moments some kind of peace between yourself and the world. That’s because the world, which is beautiful, seems horrible to you, torments you and excludes you. If the novel is successful, it must necessarily be wiser than its author. This is why many excellent French intellectuals write mediocre novels. They are always more intelligent than their books. By a certain age, coincidences lose their magic, no longer surprise, become run-of-the-mill. Any new possibility that existence acquires, even the least likely, transforms everything about existence.

And I think you're brilliant, talented, courageous, beautiful. You're my miracle. But you're the only one who can say who you are with authority. So, who are you?

A brilliant author or businesswoman or senator or software engineer is brilliant only in tiny bursts. The rest of the time, they’re doing work that most any trained person could do.

When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.

Perhaps the difference between a professor and a bus driver is that the professor can say stupid things with complete authority while the bus driver is not authorized to make brilliant insights.

I will quote one sentence from this text, namely, the one with which it ended. It was also the sentence which finally dissolved the writer’s block that had inhibited the author from starting work. I have since used it whenever I myself have been gripped by fear of the blank sheet in front of me. It is infallible, and its effect is always the same: the knot unravels and a stream of words gushes out on to the virgin paper. It acts like a magic spell and I sometimes fancy it really is one. But, even if it isn’t the work of a sorcerer, it is certainly the most brilliant sentence any writer has ever devised. It runs: ‘This is where my story begins.’

Did they know that Arthur Conan Doyle went on to investigate mysteries in his real life and absolved a man for a crime for which he has been convicted? Did they know how Agatha Christie brilliantly staged her own disappearance in order to exact an elegant revenge on a cheating husband? They probably did not. And no one was going to discount Stevie Bell, who had gotten into this school on the wings of her interest in the Ellingham case, and who had been a bystander at a death that was now looking more and more suspicious.

Thinking there had to be a better way was a brilliant stroke of serendipity!

Originality, not Intelligence, is the sign of a brilliant Author. All the Education in the world won't help someone who can't think for themselves.

A brilliant mind was first a listener that observed the actions of the people that loved and hated them, then found a way to express their feelings, when real communication was lost.

A man can only lead when others accept him as their leader, and he has only as much authority as his subjects give to him. All of the brilliant ideas in the world cannot save your kingdom if no one will listen to them.” Elend

I think one of the problems [with raising intelligent children in modern society] is compulsory schooling...and that children are sitting there, and they are taught and told what to believe; they are passive from the very beginning – and one must be very, very aggressive intellectually to have a high IQ [...] the child is taught. Right from the beginning, it's a passive process. He or she sits there, and they simply try to believe everything they're told?

I’m 100% certain of the quality of story I’m writing until I finish the outline and actually begin to write. At this point, I’m 100% certain the story sucks and I will never show it to another living soul. Until I type “THE END.” At this point, I’m 50% certain it sucks, 50% certain it’s brilliant, and 100% certain if I don’t show it to someone I will spontaneously combust.

man can only lead when others accept him as their leader, and he has only as much authority as his subjects give to him. All of the brilliant ideas in the world cannot save your kingdom if no one will listen to them.

No one survives being over-estimated, nor is there any surer way of destroying an author’s reputation than to glorify him without judgement and to praise him without tact.

One of the most brilliant Russian writers of the twentieth century, Yevgeny Zamyatin belongs to the tradition in Russian literature represented by Gogol, Leskov, Bely, Remizov, and, in certain aspects of their work, also by Babel and Bulgakov. It is a tradition, paradoxically, of experimenters and innovators. Perhaps the principal quality that unites them is their approach to reality and its uses in art - the refusal to be bound by literal fact, the interweaving of reality and fantasy, the transmutation of fact into poetry, often grotesque, oblique, playful, but always expressive of the writer's unique vision of life in his own, unique terms.

There is a great deal to be said in favour of reading a novel backwards. The last page is as a rule the most interesting, and when one begins with the catastrophe or the dénouement one feels on pleasant terms of equality with the author. It is like going behind the scenes of a theatre. One is no longer taken in, and the hair-breadth escapes of the hero and the wild agonies of the heroine leave one absolutely unmoved. One knows the jealously guarded secret, and one can afford to smile at the quite unnecessary anxiety that the puppets of fiction always consider it their duty to display.

Let your innocence show as brilliant as your dreams because only then can you discover the true beauty of love.

Today you are a step closer to a brilliant tomorrow!

The prologue of your life should be good.... but strive to make the epilogue brilliant!

This is not a romance — I have too often faced the music of life to the tune of hardship to waste time in snivelling and gushing over fancies and dreams [author's introduction]

There is a brilliant novel in all of us. Some imagine it…others live it. Authors dwell in an auspicious life by having the ability to fuse the two.

A critic should be taught to criticize a work of art without making any reference to the personality of the author. This, in fact, is the beginning of criticism.

Psychological studies have recently shown that adversity can be a more powerful motivator than support. Successful people often remember being told that they could not do what they have, in fact, done brilliantly. Stubbornness drove them. Their parents or teachers have told them they will never make any money, or that they will never get a college degree, or that they will never marry and have children. The urge to prove authority wrong has often spurred human beings to unusual success.

We're authors, too," Donegan said, "and we've been trying to get into the picture-book market. We have this idea for a Where's Wally type thing, except in ours, you'd have to find the one living person hiding in among all the dismembered corpses while the chainsaw-wielding killer hunts him down. You know, for kids." "We're going to call is Save the Survivor," Gracious said.

They are a brilliant device for shape-shifting as we can slip into the skin of authors from other times, other cultural backgrounds, brilliant minds who give us a new perspective on life and the world - something we all need from time to time. - Cornelia Funke

One of the most difficult things when you were trying to navigate the world of books was dealing with all the unreliable authors. They were so unbelievably tricky to keep track of. An author might write a brilliant book, only to follow it up with something utterly mediocre. Or, and this was almost worse, one might have written a brilliant book but then turn out to be dead. Then there were those authors who started a series but never finished it.

Jesus is exactly what I would hope God would be: a blunt-speaking, underdog-loving, field-leveling, jaw-droppingly brilliant, authority-challenging, short-story-telling, self-sacrificing, bring-the-children-to-Me . . . healer.

I was secretly convinced that I would truly exist only at the moment when my signature, Elena Greco, appeared in print...

When am I going to learn to stop questioning authority and just eat the Soylent Green?

Winning a game is good; but winning a game together with winning your rival’s heart too is brilliant and this is a real winning!

Plotinus had been born in Alexandria at the beginning of the third century A.D. Like many brilliant critics, he thought he understood what he had read better than the author himself.

A man may possess a profound knowledge of history and mathematics; he may be an authority in psychology, biology, or astronomy; he may know all the discovered truths pertaining to geology and natural science; but if he has not with this knowledge that nobility of soul which prompts him to deal justly with his fellow men, to practice virtue and holiness in personal life, he is not a truly educated man. "Character is the aim of true education; and science, history, and literature are but means used to accomplish the desired end. Character is not the result of chance work but of continuous right thinking and right acting. "True education seeks, then, to make men and women not only good mathematicians, proficient linguists, profound scientists, or brilliant literary lights, but also honest men, combined with virtue, temperance, and brotherly love-men and women who prize truth, justice, wisdom, benevolence, and self-control as the choicest acquisitions of a successful life.

Amazing, life-altering anonymous picture quotes on FaceBook: Are they created by graphic designers who steal quotes or don't bother to research the author, or are they original and just have exceptionally less ego than I do? Cos if I ever write something that brilliant it's gonna have flashing headlights.

As for me, it’s hard to say in what tangle of feelings I found myself. I always defended Lila, and I liked doing so, I liked to hear myself speak with the authority of one who is studying difficult subjects.

If a story seems too random, or perhaps too brilliant, for a "madman" to have conceived of it himself, then consider that the "author" might be reality and the "madman" just the reader. After all, only reality can escape the limits of our imagination.

Who are you?” she repeats. “Of the millions and billions of people in the world, you’re the only person who can answer that. Not people online or at your school. I can’t even answer that. I can say who I think you are.” She cups my cheek. “And I think you’re brilliant, talented, courageous, beautiful. You’re my miracle. But you’re the only one who can say who you are with authority. So, who are you?” “I’m . . .” I can’t find the words. My mom leans over and kisses my forehead. “Work on figuring it out. I think it’ll give you more answers than you realize.

Dick, meanwhile, turned to Mr. Bloeckman, determined to extract what gold he could from this unpromising load. 'I hear all the new novels are sold to the moving pictures as soon as they come out., 'That's true. Of course the main thing in a moving picture is a strong story.' 'Yes, I suppose so.' 'So many novels are all full of talk and psychology. Of course those aren't as valuable to us. It's impossible to make much of that interesting on the screen.' 'You want plots first,' said Richard brilliantly. 'Of course. Plots first—' He paused, shifted his gaze. His pause spread, included the others with all the authority of a warning finger. Gloria followed by Rachael was coming out of the dressing room.

The second key maneuver, which flowed naturally from the first, was to redefine racism itself. Confronted with civil rights headlines depicting unflattering portrayals of KKK rallies and jackbooted sheriffs, white authority transformed those damning images of white supremacy into the sole definition of racism. This simple but wickedly brilliant conceptual and linguistic shift served multiple purposes. First and foremost, it was conscience soothing. The whittling down of racism to sheet-wearing goons allowed a cloud of racial innocence to cover many whites who, although 'resentful of black progress' and determined to ensure that racial inequality remained untouched, could see and project themselves as the 'kind of upstanding white citizen(s)' who were 'positively outraged at the tactics of the Ku Klux Klan". The focus on the Klan also helped to designate racism as an individual aberration rather than something systemic, institutional and pervasive.

If one person has loved another truly and wholly, then it is more than love that collapses when one side of the indissoluble partnership turns away with a tearful goodbye.

God gave you the capacity to invent, work, create and to be brilliant.

She wasn't writing romance or feel-good novels,” mystery author Walter Mosley said. “She was writing very difficult, brilliant work.

Sometimes just looking into a person's eyes can tell a graphic story and a brilliant novel if you have the ability to turn it into words.

The way my father talked about him, I imagined a huge man, covered with purple boils, violent in spite of the “don,” which to me suggested a calm authority

Catch-22 has much passion, comic and fervent, but it gasps for want of craft and sensibility… Its author, Joseph Heller, is like a brilliant painter who decides to throw all the ideas in his sketchbooks onto one canvas, relying on their charm and shock to compensate for the lack of design… The book is an emotional hodgepodge; no mood is sustained long enough to register for more than a chapter.

Jack stepped onstage dressed in jeans, sneakers, and a T-shirt. "I'm the handsome Butterboy," Jack announced. "I'm the queen's soul mate. I just don't know it yet because I'm emotionally immature. Sorry, Conner." Conner was so embarrassed, he sank into his seat and covered his face with his backpack. Trollbella was sporting a wide grin - this was her favorite part of the show. Red struck a theatrical pose with her hands over her heart. "Be still my heart, for I am in love!" Red announced. "Now, Peter!" Trollbella whispered. Peter soared out from backstage and flew in circles over the audience. The children laughed and clapped - they reached up and tried to touch him. Conner was irritated by how much they were enjoying the show. "Hello, Butterboy!" Red said to Jack. "Would you like to be my king and rule the trolls and goblins with me? Oh, how happy we will be together!" "Oh boy, that sounds wonderful!" Jack said. "How lucky I am to be loved by such a beautiful and brilliant troll queen. I will never find someone like her ever again - nope, not once, no how, no way, not going to happen! I want to be with Trollbella for all eternity!" "I never said that!" Conner shouted from his seat. "She's making this up!

If everything is smooth sailing right from the beginning, we cannot become people of substance and character. By surmounting paining setbacks and obstacles, we can create a brilliant history of triumph that will shine forever. That is what makes life so exciting and enjoyable. In any field of endeavour, those who overcome hardships and grow as human beings are advancing towards success and victory in life.” – Daisaku Ikeda

I’ve learned, from working with translators over the years, that the original novel is, in a way, a translation itself. It is not, of course, translated into another language but it is a translation from the images in the author’s mind to that which he is able to put down on paper. Here’s a secret. Many novelists, if they are pressed and if they are being honest, will admit that the finished book is a rather rough translation of the book they’d intended to write. It’s one of the heartbreaks of writing fiction. You have, for months or years, been walking around with the idea of a novel in your mind, and in your mind it’s transcendent, it’s brilliantly comic and howlingly tragic, it contains everything you know, and everything you can imagine, about human life on the planet earth. It is vast and mysterious and awe-inspiring. It is a cathedral made of fire. But even if the book in question turns out fairly well, it’s never the book that you’d hoped to write. It’s smaller than the book you’d hoped to write. It is an object, a collection of sentences, and it does not remotely resemble a cathedral made of fire. It feels, in short, like a rather inept translation of a mythical great work. The translator, then, is simply moving the book another step along the translation continuum. The translator is translating a translation.

Ecclesiastes This is a book of the Old Testament. I don't believe I've ever read this section of the Bible - I know my Genesis pretty well and my Ten Commandments (I like lists), but I'm hazy on a lot of the other parts. Here, the Britannica provides a handy Cliff Notes version of Ecclesiastes: [the author's] observations on life convinced him that 'the race is not swift, nor the battle strong, nor bread to the wise, nor riches to the intelligent, nor favor to the men of skill; but time and chance happen to them all' (9:11). Man's fate, the author maintains, does not depend on righteous or wicked conduct but is an inscrutable mystery that remains hidden in God (9:1). All attempts to penetrate this mystery and thereby gain the wisdom necessary to secure one's fate are 'vanity' or futile. In the face of such uncertainty, the author's counsel is to enjoy the good things that God provides while one has them to enjoy. This is great. I've accumulated hundreds of facts in the last seven thousand pages, but i've been craving profundity and perspective. Yes, there was that Dyer poem, but that was just cynical. This is the real thing: the deepest paragraph I've read so far in the encyclopedia. Instant wisdom. It couldn't be more true: the race does not go to the swift. How else to explain the mouth-breathing cretins I knew in high school who now have multimillion-dollar salaries? How else to explain my brilliant friends who are stuck selling wheatgrass juice at health food stores? How else to explain Vin Diesel's show business career? Yes, life is desperately, insanely, absurdly unfair. But Ecclesiastes offers exactly the correct reaction to that fact. There's nothing to be done about it, so enjoy what you can. Take pleasure in the small things - like, for me, Julie's laugh, some nice onion dip, the insanely comfortable beat-up leather chair in our living room. I keep thinking about Ecclesiastes in the days that follow. What if this is the best the encyclopedia has to offer? What if I found the meaning of life on page 347 of the E volume? The Britannica is not a traditional book, so there's no reason why the big revelation should be at the end.

But we love the Old Travelers. We love to hear them prate and drivel and lie. We can tell them the moment we see them. They always throw out a few feelers; they never cast themselves adrift till they have sounded every individual and know that he has not traveled. Then they open their throttle valves, and how they do brag, and sneer, and swell, and soar, and blaspheme the sacred name of Truth! Their central idea, their grand aim, is to subjugate you, keep you down, make you feel insignificant and humble in the blaze of their cosmopolitan glory! They will not let you know anything. They sneer at your most inoffensive suggestions; they laugh unfeelingly at your treasured dreams of foreign lands; they brand the statements of your traveled aunts and uncles as the stupidest absurdities; they deride your most trusted authors and demolish the fair images they have set up for your willing worship with the pitiless ferocity of the fanatic iconoclast! But still I love the Old Travelers. I love them for their witless platitudes, for their supernatural ability to bore, for their delightful asinine vanity, for their luxuriant fertility of imagination, for their startling, their brilliant, their overwhelming mendacity!

This book is, in a way, a scrapbook of my writing life. From shopping the cathedral flea market in Barcelona with David Sedaris to having drinks at Cognac with Nora Ephron just months before she died. To the years of sporadic correspondence I had with Thom Jones and Ira Levin. I’ve stalked my share of mentors, asking for advice. Therefore, if you came back another day and asked me to teach you, I’d tell you that becoming an author involves more than talent and skill. I’ve known fantastic writers who never finished a project. And writers who launched incredible ideas, then never fully executed them. And I’ve seen writers who sold a single book and became so disillusioned by the process that they never wrote another. I’d paraphrase the writer Joy Williams, who says that writers must be smart enough to hatch a brilliant idea—but dull enough to research it, keyboard it, edit and re-edit it, market the manuscript, revise it, revise it, re-revise it, review the copy edit, proofread the typeset galleys, slog through the interviews and write the essays to promote it, and finally to show up in a dozen cities and autograph copies for thousands or tens of thousands of people… And then I’d tell you, “Now get off my porch.” But if you came back to me a third time, I’d say, “Kid…” I’d say, “Don’t say I didn’t warn you.

Roman authorities recommended that a very effective way to persuade and move a person or a council to adopt a particular policy is to offer examples taken from history. Exemplification, as the author of the Ad Herennium wrote, ‘renders a thought more brilliant when used for no other purpose than beauty; clearer, when throwing more light upon what was somewhat obscure; more plausible, when giving the thought a greater verisimilitude; more vivid, when expressing everything so lucidly that the matter can, I may almost say, be touched by the hand’.

Trollbella said. “Welcome to tonight’s performance. As you probably know, I am Queen Trollbella of the Troblin Kingdom. If you don’t know, please ask the person beside you to slap you. I am known for many things in my kingdom: beauty, intelligence, charisma, elegance, passion – but I’m best known for bringing my nation together. Thanks to my brilliant leadership, what was once a territory of greedy trolls and obnoxious goblins is now a kingdom of respectable and sophisticated Troblins. Tonight you will see that transformation before your symmetrical human eyes in ‘The Life and Times of Queen Trollbella’!

You have good ideas, Elend Venture,” Tindwyl said. “Regal ideas. However, you are not a king. A man can only lead when others accept him as their leader, and he has only as much authority as his subjects give to him. All of the brilliant ideas in the world cannot save your kingdom if no one will listen to them.

But half an hour later my doubts returned, I felt the need for confirmation. Who could I ask to read my text and give an opinion? My mother? My brothers? Antonio? Naturally not, the only one was Lila. But to turn to her meant to continue to recognize in her an authority, when in fact I, by now, knew more than she did. So I resisted. I was afraid that she would dismiss my half page with a disparaging remark. I was even more afraid that that remark would nevertheless work in my mind, pushing me to extreme thoughts that I would end up transcribing onto my half page, throwing off its equilibrium. And yet finally I gave in and went to look for her.

Bowlby himself told me that just such boarding-school experiences probably inspired George Orwell’s novel 1984, which brilliantly expresses how human beings may be induced to sacrifice everything they hold dear and true—including their sense of self—for the sake of being loved and approved of by someone in a position of authority.

The Lady Vader has come. We would hear her words.' 'Then you will hear them in prison.' The dynast gestured, and two more of the official guard left their line, heading purposefully toward the steps. It was, Leia judged, the right moment. Glancing down at her belt, she reached out through the Force with all the power and control she could manage-- And her lightsaber leaped from her belt, breaking free from its quick-release and jumping up in front of her. Her eyes and mind found the switch, and with a snap-hiss the brilliant green-white blade flashed into existence, carving out a vertical line between her and the line of dynasts. There was a sound like a hissing gasp from the crowd. The two Noghri who had been moving toward the maitrakh froze in mid stride...and as the gasp vanished into utter silence, Leia knew that she'd finally gotten their complete attention. 'I am not merely the daughter of the Lord Vader,' she said, putting an edge of controlled anger into her voice. 'I am the Mal'ary'ush: heir to his authority and his power. I have come through many dangers to reveal the treachery that has been done to the Noghri people.' She withdrew as much of her concentration as she could risk from the floating lightsaber to look slowly down the line of dynasts. 'Will you hear me? Or will you instead choose death?

How well your readers connect with and care about this character determines the success of a story. In other words, if they've emotionally gone on the journey with the character, suffered with and experienced the joys and triumphs of the character, as well as learned the lessons and truths, only then have you, the author, done your job.

maybe it’s working because I’m an author, and maybe it’s working because Karen works like life depends on this bookstore, or because we have a particularly brilliant staff, or because Nashville is a city that is particularly sympathetic to all things independent. Maybe we just got lucky. But my luck has made me believe that changing the course of the corporate world is possible. Amazon doesn’t get to make all the decisions; the people can make them by how and where they spend their money. If what a bookstore offers matters to you, then shop at a bookstore. If you feel that the experience of reading a book is valuable, then read the book. This is how we change the world: we grab hold of it. We change ourselves.

Keith Johnstone, author of the seminal improv work Impro: Improvisation and the Theatre, offers a brilliant quote on the subject: “There are people who prefer to say ‘Yes,’ and there are people who prefer to say ‘No.’ Those who say ‘Yes’ are rewarded by the adventures they have, and those who say ‘No’ are rewarded by the safety they attain.” Will you attain your message objectives by playing it safe?

We would gladly have listened to her (they said) if only she had spoken like a lady. But they are liars and the truth is not in them. Shrill… vituperative… no concern for the future of society… maunderings of antiquated feminism… selfish femlib… needs a good lay… this shapeless book… of course a calm and objective discussion is beyond… twisted, neurotic… some truth buried in a largely hysterical… of very limited interest, I should… another tract for the trash-can… burned her bra and thought that… no characterization, no plot… really important issues are neglected while… hermetically sealed… women's limited experience… another of the screaming sisterhood… a not very appealing aggressiveness… could have been done with wit if the author had… deflowering the pretentious male… a man would have given his right arm to… hardly girlish… a woman's book… another shrill polemic which the… a mere male like myself can hardly… a brilliant but basically confused study of feminine hysteria which… feminine lack of objectivity… this pretense at a novel… trying to shock… the tired tricks of the anti-novelists… how often must a poor critic have to… the usual boring obligatory references to Lesbianism… denial of the profound sexual polarity which… an all too womanly refusal to face facts… pseudo-masculine brusqueness… the ladies'-magazine level… trivial topics like housework and the predictable screams of… those who cuddled up to ball-breaker Kate will… unfortunately sexless in its outlook… drivel… a warped clinical protest against… violently waspish attack… formidable self-pity which erodes any chance of… formless… the inability to accept the female role which… the predictable fury at anatomy displaced to… without the grace and compassion which we have the right to expect… anatomy is destiny… destiny is anatomy… sharp and funny but without real weight or anything beyond a topical… just plain bad… we "dear ladies," whom Russ would do away with, unfortunately just don't feel… ephemeral trash, missiles of the sex war… a female lack of experience which… Q. E. D. Quod erat demonstrandum. It has been proved.

On receiving his M.A. from the University of Cambridge in 1587, Christopher Marlowe (1564-1593) had already written parts I and II of his play Tamburlane the Great. Bringing fame to its author, and a new style to tragic theater, Tamburlane was the beginning of a brilliant, unfortunately brief, career. Marlowe’s plays were to prove original in their earnest portrayal of single personalities who were deeply flawed, often criminal, but still somehow heroic.

An important book for understanding the history of our economic boom & bust cycles. It's an eye-opening account of how we are repeating the mistakes of the 1760's, 1850's, and 1920's. The author is a brilliant writer and is so good at explaining even the most complex subjects in a compelling & easy to understand way. The next crash will be painful but it's important to understand what is being done to us, and how we can learn from history and take action.

In the modern era, teachers and scholarship have traditionally laid strenuous emphasis on the fact that Briseis, the woman taken from Achilles in Book One, was his géras, his war prize, the implication being that her loss for Achilles meant only loss of honor, an emphasis that may be a legacy of the homoerotic culture in which the classics and the Iliad were so strenuously taught—namely, the British public-school system: handsome and glamorous Achilles didn’t really like women, he was only upset because he’d lost his prize! Homer’s Achilles, however, above all else, is spectacularly adept at articulating his own feelings, and in the Embassy he says, “‘Are the sons of Atreus alone among mortal men the ones / who love their wives? Since any who is a good man, and careful, / loves her who is his own and cares for her, even as I now / loved this one from my heart, though it was my spear that won her’ ” (9.340ff.). The Iliad ’s depiction of both Achilles and Patroklos is nonchalantly heterosexual. At the conclusion of the Embassy, when Agamemnon’s ambassadors have departed, “Achilles slept in the inward corner of the strong-built shelter, / and a woman lay beside him, one he had taken from Lesbos, / Phorbas’ daughter, Diomede of the fair colouring. / In the other corner Patroklos went to bed; with him also / was a girl, Iphis the fair-girdled, whom brilliant Achilles / gave him, when he took sheer Skyros” (9.663ff.). The nature of the relationship between Achilles and Patroklos played an unlikely role in a lawsuit of the mid-fourth century B.C., brought by the orator Aeschines against one Timarchus, a prominent politician in Athens who had charged him with treason. Hoping to discredit Timarchus prior to the treason trial, Aeschines attacked Timarchus’ morality, charging him with pederasty. Since the same charge could have been brought against Aeschines, the orator takes pains to differentiate between his impulses and those of the plaintiff: “The distinction which I draw is this—to be in love with those who are beautiful and chaste is the experience of a kind-hearted and generous soul”; Aeschines, Contra Timarchus 137, in C. D. Adams, trans., The Speeches of Aeschines (Cambridge, MA, 1958), 111. For proof of such love, Aeschines cited the relationship between Achilles and Patroklos; his citation is of great interest for representing the longest extant quotation of Homer by an ancient author. 32

We currently know more about superfoods, calories, fat content and food groups than ever before. Yet obesity—and all the awful illnesses that go with it—is more prevalent than ever. So where are we going wrong? And what can we do about it? Well, as one of my favorite experts, the brilliant Dr. Mark Hyman, a physician and bestselling wellness author, said, “We have to cook our way out of this mess.” And this starts with getting back in the kitchen and making all of our meals from scratch.

A quote has an even more powerful effect if we presume not just a particular author behind it, but God, nature, the unconscious, labor, or difference. These are strong fetishes, each conjuring the powerful submedial in a particular way. Yet all of them must nonetheless be exchanged in a certain rhythm according to the laws of the medial economy. In order to create such fetishes, one does not have to use brilliant quotes by famous authors but can use anonymous quotes that stem from the author- less realm of the everyday, lowly, foreign, vulgar, aggressive, or stupid. Precisely such quotes produce the effect of medial sincerity, that is, the revelation of a deeply submerged, hidden, medial plane on the familiar medial surface. It then appears as if this surface had been blasted open from the inside and that the respective quotes had sprung forth from the submedial interior—like aliens. All of this, of course, refers to the economy of the quote as a gift that can be offered, accepted, and reciprocated.

Romans certainly never thought of themselves as Greeks, but they had begun to view themselves as inhabiting the same side of the Greek-authored ethno-cultural divide that separated the civilized Hellenic world from the barbarian world, a category into which Carthage was emphatically placed. These foundation theories represented something far more potent than mere obtuse scholarly speculation. They were a body of ideas in which there had been considerable material and political investment, for they increasingly came to provide the intellectual justification for war being waged, territory being conquered, and treaties being signed. Rome’s membership of the club of civilized nations by dint of its Trojan antecedents was inherently a political decision open to periodic revision by opportunistic Hellenistic leaders (if circumstances dictated it). Indeed, the Romans themselves had been the target of a brilliant propaganda campaign waged by Pyrrhus, for silver tetradrachms that were minted under his authority were clearly designed to create a firm link in the minds of contemporaries with Alexander the Great. Among the portraits on them were the Greek heroes Heracles and Achilles.49

The Nook is an under-appreciated genius of a lovemark. The team at Barnes & Noble got a lot right with the Nook, and from a lovemark perspective, I think they created a more intimate product than any other dedicated e-reader. The rubber back behind the Nook is soft and pliable—not hard metal like the later Kindles—making it sensual and intimate. Barnes & Noble also recreated the engraved faces of famous authors from their stores and used them as Nook screensavers. It’s brilliant, not just because it makes reading more intimate, but also because it solidifies the Barnes & Noble brand itself.

I now saw the liberal press in a different light. Its dignified tone in replying to its opponents' attacks, and its dead silence on other issues, now became clear to me as part of a cunning and despicable way of deceiving the reader. Its brilliant theatrical criticisms always praised the Jewish authors, whereas its negative criticism was reserved exclusively for the Germans... The subject matter of the short story was trashy and often indecent. The entire language of this press had the accent of a foreign people. The general tone was so openly derogatory to the Germans that it must have been intentional... In whose interest was this?... Was all this merely an accident?

Free speech is a unitary issue in which there are no possible divisions. The moral standing of the speaker has no relevance, other than in our correlated free right to judge him in turn for his actions, and it should not matter whether the person speaking is the finest man who has ever lived or the worst, nor whether or not a majority concurs with his sentiment. It must not matter whether a writer is brilliant or moronic, or a cartoonist witty or bigoted, because it is not up to power, authority, plurality or orthodoxy to make that distinction. Parliament can not be the architect of its own opposition, nor the offended the authors of their own offense. Put bluntly, the law must not distinguish between the writings of Hitler and those of Shakespeare.

Actually, the author’s job is more complicated than that,” said the Big Bad Wolf. “When an author gets a revision letter, she’s required by law to call her agent and complain bitterly about her mean, nasty, cruel editor who has bacon for brains. She whines and moans and complains for three hours. If she’s the emotional sort, she cries big buckets of tears. If she’s the unemotional sort, she makes secret plans to send her editor a letter bomb. Then her wise and brilliant agent talks her off the ledge, reminds her that she signed a binding legal contract, and suggests that maybe her editor might have said one or two non-moronic things in the revision letter.” “And eventually, when the author’s sanity returns, she rewrites her manuscript,” said Baby Bear.

A staunch determinist might argue that between a magazine in a democratic country applying financial pressure to its contributors to make them exude what is required by the so-called reading public—between this and the more direct pressure which a police state brings to bear in order to make the author round out his novel with a suitable political message, it may be argued that between the two pressures there is only a difference of degree; but this is not so for the simple reason that there are many different periodicals and philosophies in a free country but only one government in a dictatorship. It is a difference in quality. If I, an American writer, decide to write an unconventional novel about, say, a happy atheist, an independent Bostonian, who marries a beautiful Negro girl, also an atheist, has lots of children, cute little agnostics, and lives a happy, good, and gentle life to the age of 106, when he blissfully dies in his sleep — it is quite possible that despite your brilliant talent, Mr. Nabokov, we feel [in such cases we don't think, we feel] that no American publisher could risk bringing out such a book simply because no bookseller would want to handle it. This is a publisher's opinion, and everybody has the right to have an opinion. Nobody would exile me to the wilds of Alaska for having my happy atheist published after all by some shady experimental firm; and on the other hand, authors in America are never ordered by the government to produce magnificent novels about the joys of free enterprise and of morning prayers.

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

Until such time as one has put to oneself a certain number of questions about an author, and has answered them, be it only to oneself alone and under one’s breath, one cannot be sure of having grasped him completely, even though the questions may seem quite foreign to the nature of his writings: What were his religious ideas? How did the spectacle of nature affect him? How did he behave in the matter of women, of money? Was he rich, poor; what was his diet, his daily routine? What was his vice or his weakness? None of the answers to these questions is irrelevant. Even so, the answers tend to be surprising. However brilliant, however wise the work, it seems that the lives of artists can be relied upon to exhibit an extraordinary, incongruous range of turmoil, misery, and stupidity.

The community of faith does not need brilliant personalities but faithful servants of Jesus and of one another. It does not lack the former, but the latter. The community of faith will place its confidence only in the simple servant of the Word of Jesus, because it knows that it will then be guided not by human wisdom and human conceit, but by the Word of the Good Shepherd. The question of spiritual trust, which is so closely connected with the question of authority, is decided by the faithfulness with which people serve Jesus Christ, never by the extraordinary gifts they possess. Authority in pastoral care can be found only in the servants of Jesus who seek no authority of their own, but who are Christians one to another, obedient to the authority of the Word.” (Dietrich Bonhoeffer, Life Together, paragraph 92)

The ancient triumph of Christianity proved to be the single greatest cultural transformation our world has ever seen. Without it the entire history of Late Antiquity would not have happened as it did. We would never have had the Middle Ages, the Reformation, the Renaissance, or modernity as we know it. There could never have been a Matthew Arnold. Or any of the Victorian poets. Or any of the other authors of our canon: no Milton, no Shakespeare, no Chaucer. We would have had none of our revered artists: Michelangelo, Leonardo da Vinci, or Rembrandt. And none of our brilliant composers: Mozart, Handel, or Bach. To be sure, we would have had other Miltons, Michelangelos, and Mozarts in their places, and it is impossible to know whether these would have been better or worse. But they would have been incalculably different.

O guide my judgment and my taste, Sweet Spirit, author of the book Of wonders, told in language chaste And plainness, not to be mistook. O let me muse, and yet at sight The page admire, the page believe; "Let there be light, and there was light, Let there be Paradise and Eve!" Who his soul's rapture can refrain? At Joseph's ever pleasing tale Of marvels, the prodigious train, To Sinai's hill from Goshen's vale. The psalmist and proverbial seer, And all the prophets sons of song, Make all things precious, all things dear, And bear the brilliant word along. O take the book from off the shelf, And con it meekly on thy knees; Best panegyric on itself, And self-avouch'd to teach and please. Respect, adore it heart and mind. How greatly sweet, how sweetly grand, Who reads the most, is most refind'd, And polish'd by the Master's hand.

Hers might be different in many ways from a really fashionable drawing-room in which you would have been struck by the absence of a number of middle class ladies to whom Mme. de Villeparisis was ‘at home,’ and would have noticed instead such brilliant leaders of fashion as Mme. Leroi had in course of time managed to secure, but this distinction is not perceptible in her Memoirs, from which certain unimportant friendships of the author have disappeared because there is never any occasion to refer to them; while the absence of those who did not come to see her leaves no gap because, in the necessarily restricted space at the author’s disposal, only a few persons can appear, and if these persons are royal personages, historic personalities, then the utmost impression of distinction which any volume of memoirs can convey to the public is achieved

Books are admitted to the canon by a compact which confesses their greatness in consideration of abrogating their meaning; so that the reverend rector can agree with the prophet Micah as to his inspired style without being committed to any complicity in Micah's furiously Radical opinions. Why, even I, as I force myself; pen in hand, into recognition and civility, find all the force of my onslaught destroyed by a simple policy of non-resistance. In vain do I redouble the violence of the language in which I proclaim my heterodoxies. I rail at the theistic credulity of Voltaire, the amoristic superstition of Shelley, the revival of tribal soothsaying and idolatrous rites which Huxley called Science and mistook for an advance on the Pentateuch, no less than at the welter of ecclesiastical and professional humbug which saves the face of the stupid system of violence and robbery which we call Law and Industry. Even atheists reproach me with infidelity and anarchists with nihilism because I cannot endure their moral tirades. And yet, instead of exclaiming "Send this inconceivable Satanist to the stake," the respectable newspapers pith me by announcing "another book by this brilliant and thoughtful writer." And the ordinary citizen, knowing that an author who is well spoken of by a respectable newspaper must be all right, reads me, as he reads Micah, with undisturbed edification from his own point of view. It is narrated that in the eighteen-seventies an old lady, a very devout Methodist, moved from Colchester to a house in the neighborhood of the City Road, in London, where, mistaking the Hall of Science for a chapel, she sat at the feet of Charles Bradlaugh for many years, entranced by his eloquence, without questioning his orthodoxy or moulting a feather of her faith. I fear I small be defrauded of my just martyrdom in the same way.

IT is proverbially easier to destroy than to construct ; and as a corollary of this proverb, it is easier for readers to apprehend the destructive than the constructive side of an author's thought. More than this: when a writer is skilful at destructive criticism, the public is satisfied with that. If he has no constructive philosophy, it is not demanded; and if he has, it is overlooked. This is especially true when we are concerned with critics of society, from Arnold to the present day. All such critics are criticized from one common standard, and that the lowest: the standard of brilliant attack upon aspects of contemporary society which we know and dislike. It is the easiest standard to take. For the criticism deals with concrete things in our world which we know, and the writer may be merely echoing, in neater phrasing, our own thoughts; whereas the construction deals with things hard and unfamiliar. Hence the popularity of Mr. Mencken.

At their best, old-fashioned military academies saved students from delinquency. At their worst, they drove boys to it by subjecting them to a culture that valued dominance, violence, and subversion of authorities. The experience is brilliantly told in Pat Conroy’s novel The Lords of Discipline, which depicts life at a military college similar to The Citadel in South Carolina. Although Conroy writes with both dismay and affection, others have offered a more scathing evaluation of these places. In his memoir, Breakshot, former mobster Kenny Gallo noted that his military boarding-school experience transformed him from “a disorderly brat into an orderly outlaw.” Recalling his career at Army and Navy Academy in California, Gallo writes, “I guess you could say my ‘normal’ social development stopped at military school when I was thirteen; I stopped developing as a healthy adult citizen and, first out of self defense and then out of pleasure, began honing my skills as a predator.”7 As

The Bostonians is special because it never was ‘titivated’ for the New York edition, for its humour and its physicality, for its direct engagement with social and political issues and the way it dramatized them, and finally for the extent to which its setting and action involved the author and his sense of himself. But the passage above suggests one other source of its unique quality. It has been called a comedy and a satire – which it is. But it is also a tragedy, and a moving one at that. If its freshness, humour, physicality and political relevance all combine to make it a peculiarly accessible and enjoyable novel, it is also an upsetting and disturbing one, not simply in its treatment of Olive, but also of what she tries to stand for. (Miss Birdseye is an important figure in this respect: built up and knocked down as she is almost by fits and starts.) The book’s jaundiced view of what Verena calls ‘the Heart of humanity’ (chapter 28) – reform, progress and the liberal collectivism which seems so essential an ingredient in modern democracy – makes it contentious to this day. An aura of scepticism about the entire political process hangs about it: salutary some may say; destructive according to others. And so, more than any other novel of James’s, it reminds us of the literature of our own time. The Bostonians is one of the most brilliant novels in the English language, as F. R. Leavis remarked;27 but it is also one of the bleakest. In no other novel did James reveal more of himself, his society and his era, and of the human condition, caught as it is between the blind necessity of progress and the urge to retain the old. It is a remarkably experimental modern novel, written by a man of conservative values. It is judgemental about people with whom its author identified, and lenient towards attitudes hostile to large areas of James’s own intellectual and personal inheritance. The strength of the contradictions embodied in the novel are a guarantee of the pleasure it has to give.

Specialist or Strategist? Isn’t it true that the more you practice, the better you get? Yes, but, and this bears repeating, the intuitive mastery we are striving for is not brilliant skill at predictable tasks. As the late science fiction author, Robert Heinlein, pointed out, specialization is for insects. Humans need the mystifying ability to cope with the unpredictable and ambiguous challenges posed by thinking adversaries in the real world. Since kendo masters practice hard, don’t we need to put in long hours to develop super competence? The answer is absolutely yes. However, sixteen hours at the office doing the same things day after day simply make you a workaholic (and very likely a micromanager); they do not per se confer an intuitive skill useful in competitive situations. Tom Peters suggests that you can spot who is going to do great things by what they do on airplanes. They don’t pull out the laptop and grind spreadsheets. Instead, they “read Zen and the Art of Motorcycle Maintenance for the umpteenth time,” or pick up insights on human behavior from the great novelists.

[The Great Gatsby] is a tour de force of revision. So much so that critics, who rarely mention the edit of a book, commented on the quality of Gatsby's rewriting, not just its writing, in reviews. For H. L. Mencken, the novel had 'a careful and brilliant finish. ... There is evidence in every line of hard work and intelligent effort. ... The author wrote, tore up, rewrote, tore up again. There are pages so artfully contrived that one can no more imagine improvising them than one can imagine improvising a fugue.' ... Careful, sound, carefully written, hard effort, wrote and rewrote, artfully contrived not improvised, structure, discipline: all these terms refer, however obliquely, not to the initial act of inspiration, but to editing. Organization and clarity do not dominate the writing process. At some point, though, a writer must pull coherence from confusion, illuminate what lives in shadow, shade what shines too brightly. Gatsby is the cat's meow case study of crossing what Michael Ondaatje calls 'that seemingly uncrossable gulf between an early draft of a book ... and a finished product' - in other words, editing.

There are many things that men and women ought to think about, and must think about, in private, that they would not for a moment discuss in public. There are books on the proper conduct of women in certain most sacred relations of life, relations of life which are as holy as any, and which can be entered into in the presence of a holy God with no question of His approval, but which do not permit of public mention. . . . That the Bible is a pure book is evidenced by the fact that it is not a favourite book in dens of infamy. But on the other hand, books that try to make out that the Bible is an obscene book, and that endeavour to keep people from reading it, are favourite books in dens of infamy. The unclean classes, both men and women, were devoted admirers of the most brilliant man this country ever produced who attacked what he called the "obscenity of the Bible." These unclean classes do not frequent Bible classes. They do frequent infidel lectures. These infidel objectors to the book as an "obscene book" constantly betray their insincerity and hypocrisy. Colonel Ingersoll . . . objected to the Bible for telling these vile deeds "without a touch of humour." In other words, he did not object to telling stories of vice, if only a joke was made of the sin. Thank God, that is exactly what the Bible does not do--make a joke of sin. It makes sin hideous, so men who are obscene in their own hearts object to the Bible as being an obscene book. . . . To sum up, there are in the Bible descriptions of sins that cannot wisely be read in every public assembly, but these descriptions of sin are morally most wholesome in the places where God, the Author of the Book, manifestly intends them to be read. The child who is brought up to read the Bible as a whole, from Genesis to Revelation, will come to know in the very best way possible what a child ought to know very early in life if he is to be safeguarded against the perils that surround our modern life on every hand. A child who is brought up upon a constant, thorough, continuous reading of the whole Bible is more likely than any other child to be free from the vices that are undermining the mental, moral, and physical strength of our boys and girls, and young men and young women. But the child who is brought up on infidel literature and conversation is the easiest prey there is for the seducer and procuress. The next easiest is the one who, through neglect of the Bible, is left in ignorance of the awful pitfalls of life.

All that’s as it may be. But I don’t know what the author’ll say. He’s a conceited little ape and it’s not a bit the scene he wrote.' 'Oh, leave him to me. I’ll fix him.' There was a knock at the door and it was the author himself who came in. With a cry of delight, Julia went up to him, threw her arms round his neck and kissed him on both cheeks. 'Are you pleased?' 'It looks like a success,' he answered, but a trifle coldly. 'My dear, it’ll run for a year.' She placed her hands on his shoulders and looked him full in the face. 'But you’re a wicked, wicked man.' 'You almost ruined my performance. When I came to that bit in the second act and suddenly saw what it meant I nearly broke down. You knew what was in that scene, you’re the author; why did you let us rehearse it all the time as if there was no more in it than appeared on the surface? We’re only actors, how can you expect us to — to fathom your subtlety? It’s the best scene in your play and I almost bungled it. No one in the world could have written it but you. Your play’s brilliant, but in that scene there’s more than brilliance, there’s genius.' The author flushed. Julia looked at him with veneration. He felt shy and happy and proud. ('In twenty-four hours the mug’ll think he really meant the scene to go like that.') .

assessing Ronald Reagan. There are so many basic questions that even his friends cannot quite figure out, such as (to start with the most basic one): Was he smart? From the brilliant-versus-clueless question flows even more complex ones. Was he a visionary who clung to a few verities, or an amiable dunce who floated obliviously above facts and nuances? Was he a stubborn ideological coot or a clever negotiator able to change course when dealing with Congress and the Soviets and movie moguls? Was he a historic figure who stemmed the tide of government expansion and stared down Moscow, or an out-of-touch actor who bloated the deficit and deserves less credit than Gorbachev for ending the cold war? The most solidly reported biography of Reagan so far—indeed, the only solidly reported biography—is by the scrupulously fair newspaperman Lou Cannon, who has covered him since the 1960s. Edmund Morris, who with great literary flair captured the life of Theodore Roosevelt, was given the access to write an authorized biography, but he became flummoxed by the topic; he took an erratic swing by producing Dutch, a semifictionalized ruminative bio-memoir, thus fouling off his precious opportunity. Both Garry Wills in his elegant 1987 sociobiography, Reagan’s America, and Dinesh D’Souza in his 1997 delicate drypoint, Ronald Reagan, do a good job of analyzing why he was able to make such a successful connection with the American people.

authorities were less vigilant during a storm. Even so, he was nervous. He had flown in to Cuba many times. But never here. And tonight he would have preferred to have been going almost anywhere else. Cayo Esqueleto. Skeleton Key. There it was, stretching out before him, twenty-five miles long and six miles across at its widest point. The sea around it, which had been an extraordinary, brilliant blue until a few minutes ago, had suddenly darkened, as if someone had thrown a switch. Over to the west, he made out the twinkling lights of Puerto Madre, the island’s second-biggest town. The main airport was farther north, outside the capital of Santiago. But that wasn’t where he was heading. He pressed down on the joystick and the plane veered to the right, circling over the forests and mangrove swamps that surrounded the old, abandoned airport at the bottom end of the island. The Cessna had been equipped with a thermal intensifier, similar to the sort used in American spy satellites. He flicked a switch and glanced at the display. A few birds appeared as tiny pinpricks of red. More dots pulsated in the swamp: crocodiles or perhaps manatees. And a single dot about twenty yards from the runway. He turned to speak to the man called Carlo, but there was no need. Carlo was already leaning over his shoulder, staring at the screen. Carlo nodded. Only one man was waiting for them, as agreed. Anyone hiding within half a mile of the airstrip would have shown up on the radar. It was safe to land.

Studentdom, he felt, must pass its own Examinations and define its own Commencement--a slow, most painful process, made the more anguishing by bloody intelligences like the Bonifacists of Siegfrieder College. Yet however it seemed at times that men got nowhere, but only repeated class by class the mistakes of their predecessors, two crucial facts about them were at once their hope and the limitation of their possibility, so he believed. One was their historicity: the campus was young, the student race even younger, and by contrast with the whole of past time, the great collegiate cultures had been born only yesterday. The other had to do with comparative cyclology, a field of systematic speculation he could not review for me just then, but whose present relevance lay in the correspondency he held to obtain between the life-history of individuals and the history of studentdom in general. As the embryologists maintained that ontogeny repeats phylogeny, so, Max claimed, the race itself--and on a smaller scale, West-Campus culture--followed demonstrably--in capital letters, as it were, or slow motion--the life-pattern of its least new freshman. This was the basis of Spielman's Law--ontogeny repeats cosmogeny--and there was much more to it and to the science of cyclology whereof it was first principle. The important thing for now was that, by his calculations, West-Campus as a whole was in mid-adolescence... 'Look how we been acting,' he invited me, referring to intercollegiate political squabbles; 'the colleges are spoilt kids, and the whole University a mindless baby, ja? Okay: so weren't we all once, Enos Enoch too? And we got to admit that the University's a precocious kid. If the history of life on campus hadn't been so childish, we couldn't hope it'll reach maturity.' Studentdom had passed already, he asserted, from a disorganized, pre-literate infancy (of which Croaker was a modern representative, nothing ever being entirely lost) through a rather brilliant early childhood ('...ancient Lykeion, Remus, T'ang...') which formed its basic and somewhat contradictory character; it had undergone a period of naive general faith in parental authority (by which he meant early Founderism) and survived critical spells of disillusionment, skepticism, rationalism, willfulness, self-criticism, violence, disorientation, despair, and the like--all characteristic of pre-adolescence and adolescence, at least in their West-Campus form. I even recognized some of those stages in my own recent past; indeed, Max's description of the present state of West-Campus studentdom reminded me uncomfortably of my behavior in the Lady-Creamhair period: capricious, at odds with itself, perverse, hard to live with. Its schisms, as manifested in the Quiet Riot, had been aggravated and rendered dangerous by the access of unwonted power--as when, in the space of a few semesters, a boy finds himself suddenly muscular, deep-voiced, aware of his failings, proud of his strengths, capable of truly potent love and hatred--and on his own. What hope there was that such an adolescent would reach maturity (not to say Commencement) without destroying himself was precisely the hope of the University.

But my point applies to a broader audience. Indulge me in one more thought experiment, a familiar one: You will be stranded on a desert island, and you can take just 10 books and 10 music CDs. What do you choose? My prediction is that even people who don’t listen to classical music regularly will take Bach, Mozart, and Beethoven. Even people who haven’t picked up Shakespeare in years will take the collected works of Shakespeare. When we want something we can go back to again and again, we choose the same giants that the experts choose. My proposition about the literature, music, and visual arts of the last half century is that hardly any of it has enough substance to satisfy, over time. The post-1950 West has unquestionably produced some wonderful entertainments, and I do not mean wonderful slightingly. The Simpsons is wickedly smart, Saving Private Ryan is gripping, Groundhog Day is a brilliant moral fable. The West’s popular culture is for my money the only contemporary culture worth patronizing, with its best stories more compelling and revealing than the ones written by authors who purport to write serious novels, and its best popular music with more energy and charm than anything the academic composers turn out. It is a mixed bag, with the irredeemably vulgar side by side, sometimes intermingled, with the wittiest and most thoughtful work. But the quality is often first-rate—as well it might be. The people producing the best work include some who in another age could have been a Caravaggio or Brahms or Racine, and perhaps dozens of others good enough to have made their way onto the roster of significant figures. Why not be satisfied with wonderful entertainments?

Many people approach Tolstoy with mixed feelings. They love the artist in him and are intensely bored by the preacher; but at the same time it is rather difficult to separate Tolstoy the preacher from Tolstoy the artist—it is the same deep slow voice, the same robust shoulder pushing up a cloud of visions or a load of ideas. What one would like to do, would be to kick the glorified soapbox from under his sandalled feet and then lock him up in a stone house on a desert island with gallons of ink and reams of paper—far away from the things, ethical and pedagogical, that diverted his attention from observing the way the dark hair curled above Anna's white neck. But the thing cannot be done : Tolstoy is homogeneous, is one, and the struggle which, especially in the later years, went on between the man who gloated over the beauty of black earth, white flesh, blue snow, green fields, purple thunderclouds, and the man who maintained that fiction is sinful and art immoral—this struggle was still confined within the same man. Whether painting or preaching, Tolstoy was striving, in spite of all obstacles, to get at the truth. As the author of Anna Karenin, he used one method of discovering truth; in his sermons, he used another; but somehow, no matter how subtle his art was and no matter how dull some of his other attitudes were, truth which he was ponderously groping for or magically finding just around the corner, was always the same truth — this truth was he and this he was an art. What troubles one, is merely that he did not always recognize his own self when confronted with truth. I like the story of his picking up a book one dreary day in his old age, many years after he had stopped writing novels, and starting to read in the middle, and getting interested and very much pleased, and then looking at the title—and seeing: Anna Karenin by Leo Tolstoy. What obsessed Tolstoy, what obscured his genius, what now distresses the good reader, was that, somehow, the process of seeking the Truth seemed more important to him than the easy, vivid, brilliant discovery of the illusion of truth through the medium of his artistic genius. Old Russian Truth was never a comfortable companion; it had a violent temper and a heavy tread. It was not simply truth, not merely everyday pravda but immortal istina—not truth but the inner light of truth. When Tolstoy did happen to find it in himself, in the splendor of his creative imagination, then, almost unconsciously, he was on the right path. What does his tussle with the ruling Greek-Catholic Church matter, what importance do his ethical opinions have, in the light of this or that imaginative passage in any of his novels? Essential truth, istina, is one of the few words in the Russian language that cannot be rhymed. It has no verbal mate, no verbal associations, it stands alone and aloof, with only a vague suggestion of the root "to stand" in the dark brilliancy of its immemorial rock. Most Russian writers have been tremendously interested in Truth's exact whereabouts and essential properties. To Pushkin it was of marble under a noble sun ; Dostoevski, a much inferior artist, saw it as a thing of blood and tears and hysterical and topical politics and sweat; and Chekhov kept a quizzical eye upon it, while seemingly engrossed in the hazy scenery all around. Tolstoy marched straight at it, head bent and fists clenched, and found the place where the cross had once stood, or found—the image of his own self.

God. God has no religion. God does not care if you're rich or poor, if you're black, white, Hispanic, Arabic or Asian. God does not care if you go to the temple on a full moon day or if you missed your weekly Sunday church mass. God does not care if you walk around in a bikini or Hijab. God is not moved by the man or woman who takes a moment off every day to be religious or fasts in his name for weeks at a time. God dwells within a being's mind, body and soul. God cares about their intentions. God is indeed almighty; he is a maestro of logic and a brilliant multi-tasker who dwells within billions of minds at a time. But that is only the big picture. So is there a smaller picture? Why yes, there is. But, it’s not so simple. In fact it may be the most denied fact in human life. You see, we humans are of dependent nature. We depend on the earth's soil and animals for food, we depend on its water, light and oxygen. We are a civilization of dependents. Someone once said that our biggest fear is not that we are inadequate but that we are powerful beyond measure. That is indeed true. We refuse to believe that God lives within us. We refuse to believe that our intelligence is God himself. We refuse to believe that we have all the power in the world within ourselves. We refuse to believe that we are stronger than our fears, larger than our limits and more than just a name. We would rather praise our successes and blame our ill fates to an external God. We refuse to take responsibility for our fate or what we do with it. We'd rather have someone to blame it all on. Maybe the thought of having so much power within ourselves scares us. Maybe we are too irresponsible to have such authority over our own lives. Maybe we are cowards. So we look for God in an outer space that we can't reach.

I’d met Madison, as I’ve already mentioned, two months earlier, in Budapest. I’d been at a conference. She’d been there with some girlfriends. We’d got talking in the hotel bar. An anthropologist, she’d said; that’s … exotic. Not at all, I’d replied; I work for an incorporated business, in a basement. Yes, she said, but … But what? I asked. Dances, and masks, and feathers, she eventually responded: that’s the essence of your work, isn’t it? I mean, even if you’re writing a report on workplace etiquette, or how to motivate employees or whatever, you’re seeing it all through a lens of rituals, and rites, and stuff. It must make the everyday all primitive and strange—no? I saw what she was getting at; but she was wrong. For anthropologists, even the exotic’s not exotic, let alone the everyday. In his key volume Tristes Tropiques, Claude Lévi-Strauss, the twentieth century’s most brilliant ethnographer, describes pacing the streets, all draped with new electric cable, of Lahore’s Old Town sometime in the nineteen-fifties, trying to piece together, long after the event, a vanished purity—of local colour, texture, custom, life in general—from nothing but leftovers and debris. He goes on to describe being struck by the same impression when he lived among the Amazonian Nambikwara tribe: the sense of having come “too late”—although he knows, from having read a previous account of life among the Nambikwara, that the anthropologist (that account’s author) who came here fifty years earlier, before the rubber-traders and the telegraph, was struck by that impression also; and knows as well that the anthropologist who, inspired by the account that Lévi-Strauss will himself write of this trip, shall come back in fifty more will be struck by it too, and wish—if only!—that he could have been here fifty years ago (that is, now, or, rather, then) to see what he, Lévi-Strauss, saw, or failed to see. This leads him to identify a “double-bind” to which all anthropologists, and anthropology itself, are, by their very nature, prey: the “purity” they crave is no more than a state in which all frames of comprehension, of interpretation and analysis, are lacking; once these are brought to bear, the mystery that drew the anthropologist towards his subject in the first place vanishes. I explained this to her; and she seemed, despite the fact that she was drunk, to understand what I was saying. Wow, she murmured; that’s kind of fucked. 2.8 When I arrived at Madison’s, we had sex. Afterwards,

My darling son: depression at your age is more common than you might think. I remember it very strongly in Minneapolis, Minnesota, when I was about twenty-six and felt like killing myself. I think the winter, the cold, the lack of sunshine, for us tropical creatures, is a trigger. And to tell you the truth, the idea that you might soon unpack your bags here, having chucked in all your European plans, makes your mother and me as happy as could be. You have more than earned the equivalent of any university 'degree' and you have used your time so well to educate yourself culturally and personally that if university bores you, it is only natural. Whatever you do from here on in, whether you write or don't write, whether you get a degree or not, whether you work for your mother, or at El Mundo, or at La Ines, or teaching at a high school, or giving lectures like Estanislao Zuleta, or as a psychoanalyst to your parents, sisters and relatives, or simply being Hector Abad Faciolince, will be fine. What matters is that you don't stop being what you have been up till now, a person, who simply by virtue of being the way you are, not for what you write or don't write, or for being brilliant or prominent, but just for being the way you are, has earned the affection, the respect, the acceptance, the trust, the love, of the vast majority of those who know you. So we want to keep seeing you in this way, not as a future great author, or journalist or communicator or professor or poet, but as the son, brother, relative, friend, humanist, who understands others and does not aspire to be understood. It does not matter what people think of you, and gaudy decoration doesn't matter, for those of us who know you are. For goodness' sake, dear Quinquin, how can you think 'we support you (...) because 'that boy could go far'? You have already gone very far, further than all our dreams, better than everything we imagined for any of our children. You should know very well that your mother's and my ambitions are not for glory, or for money, or even for happiness, that word that sounds so pretty but is attained so infrequently and for such short intervals (and maybe for that very reason is so valued), for all our children, but that they might at least achieve well-being, that more solid, more durable, more possible, more attainable word. We have often talked of the anguish of Carlos Castro Saavedra, Manuel Meija Vallejo, Rodrigo Arenas Betancourt, and so many quasi-geniuses we know. Or Sabato or Rulfo, or even Garcia Marquez. That does not matter. Remember Goethe: 'All theory (I would add, and all art), dear friend, is grey, but only the golden tree of life springs ever green.' What we want for you is to 'live'. And living means many better things than being famous, gaining qualifications or winning prizes. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. Only now, when all that has passed, have I felt really happy. And part of that happiness is Cecilia, you, and all my children and grandchildren. Only the memory of Marta Cecilia tarnishes it. I believe things are that simple, after having gone round and round in circles, complicating them so much. We should do away with this love for things as ethereal as fame, glory, success... Well, my Quinquin, now you know what I think of you and your future. There's no need for you to worry. You are doing just fine and you'll do better, and when you get to my age or your grandfather's age and you can enjoy the scenery around La Ines that I intend to leave to all of you, with the sunshine, heat and lush greenery, and you'll see I was right. Don't stay there longer than you feel you can. If you want to come back I'll welcome you with open arms. And if you regret it and want to go back again, we can buy you another return flight. A kiss from your father.

Mm, Willa Cather. A brilliant author. And this is her best, hands down. It's the one she was meant to write.

Books choose their authors; the act of creation is not entirely a rational and conscious one." ―Salman Rushdie

Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. We ask ourselves, “Who am I to be brilliant, gorgeous, talented and fabulous?” Actually, who are you not to be? You are a child of God. Your playing small doesn’t serve the world. There’s nothing enlightened about shrinking so that other people won’t feel insecure around you. We were born to manifest the glory of God that is within us . . . And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.

The handling of Theudas and Judas the Galilean by the author of Acts is perhaps the most confusing, most illogical and most dishonest literature one will ever come across. Its purpose was to mislead, so one must admire the desired effects over the past two thousand years. It has worked brilliantly: the histories of both Theudas and Judas the Galilean have been suppressed to the point that these two Jewish revolutionaries are insignificant footnotes, never even considered in the Jesus story.