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I mean, we're all trying to find out who the hell we are, aren't we?
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The success of any trap lies in its fundamental simplicity. The reverse trap by the nature of its single complication must be swift and simpler still.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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What a man can't remember doesn't exist for him.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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I see things and I hear things I do not understand. I'm a skilled, resourceful... vegetable!
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The easiest thing in the world is to convince yourself that you're right. As one grows old, it is easier still.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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You're on your own now. You are not helpless. You will find your way.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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How gratifying to be there when arrogance collapses. How much more so to be the instrument. (Alfred Gillette)
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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There'll come a moment when you think you can make it, and you'll try.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Men and women walked casually about as they did on the main floor, every now and then stopping one another, exchanging pleasantries or scraps of relevantly irrelevant information. Gossip.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The easiest thing in the world is to convince yourself that you are right. As one grows older, this is easier still.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Before taking her into the library, my wife told me she was an old friend in a marriage crisis. A fatuous lie; at her age there are no crises left in marriage, only acceptance and extraction. (General Villiers)
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Accountants and economists are natural enemies. One views trees, the other forests, and the visions are usually at odds, as they should be.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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They lived with the intensity of two people aware that change would come. And when it came, it would come quickly; so there were things to talk about which could not be avoided any longer.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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You appear to be a mass of contradictions; there’s a subsurface violence almost always in control, but very much alive.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Give me enough medals and I’ll win you any war.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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I mean, we’re all trying to find out who the hell we are, aren’t we?
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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One balks, then agrees, then balks again only to agree again; that is the way one learns things.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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She's an old soldier's woman, and she has antennae for things that often escape the officer in the field.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Mindless, stupid men! Playing with the lives of other men,
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Two people were not one,
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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There were more preposterous vicissitudes in life than a single philosophy could conjure.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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They never listened until it was too late, and then only with stern forbearance and strong reminders of what might have been—had things been as they were perceived to be, which they were not.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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everything we knew, everything we felt!’ ‘Not quite everything,’ he said, touching her cheek. ‘I’m Jason to you, Bourne to me, because that’s the name I was given, and have to use it because I don’t have any other. But it’s not mine.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Wealth is relative to the amount of time one has to enjoy it.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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It’s not the meek who are inheriting the earth, Jason, it’s the corruptors
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The easiest thing in the world is to convince yourself that you’re right. As one grows old it is easier still.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Wealth is relative to the amount of time one has to enjoy it. I wouldn’t have five minutes.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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If I haven't done badly, it's because I've become indispensable to too many like David Abbott. I have in my head a thousand facts they couldn't possibly recall. It's simply easier for them to place me where the questions are, where problems need solutions. (Alfred Gillette)
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The silence lasted precisely five seconds, during which time eyes roamed other eyes, several throats were cleared, and no one moved in his chair. It was as if a decision were being reached without discussion: evasion was to be avoided. Congressman Efrem Walters, out of the hills of Tennessee by way of the Yale Law Review, was not to be dismissed with facile circumlocution that dealt with the esoterica of clandestine manipulations. Bullshit was out.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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You appear to be a mass of contradictions," Dr Washburn said. "There's a subsurface violence almost always in control, but very much alive. There's also a pensiveness that seems painful for you, yet you rarely give vent to the anger that pain must provoke.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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If a stress situation results in injury, be aware of the fact that the damage may be as much psychological as physical. You may have a very real revulsion to pain and bodily harm. Don’t take risks, but if there’s time, give yourself a chance to adjust. Don’t panic.…
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Because the physical conduits that permit and transmit those memories have been altered. Physically rearranged to the point where they no longer function as they once did. For all intents and purposes, they’ve been destroyed.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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warmed by the cold sea around him.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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followed – even now at this moment.’ The one-time beggar
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The physical and the psychological. They were related, interwoven—two strands of experience, or stimulae, that became knotted.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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That’s not a man who’s either afraid or guilty.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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The slightest alteration can cause dramatic changes. That’s what happened to you. The damage was physical. It’s as though blocks were rearranged, the physical structure no longer what it was.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Stop it! Do not think of things that … you cannot think about. Concentrate on what is. Now. You. Not what others say you are—not even what you may think you are. Only the now. And the now is a man who can give you answers.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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I loathe him. He stands for everything I hate in Washington. The right schools, houses in Georgetown, farms in Virginia, quiet meetings at their clubs. They've got their tight little world and you don't break in--they run it all. The bastards. The superior, self-inflated gentry of Washington. They use other men's intellects, other men's work, wrapping it all into decisions bearing their imprimaturs. And if you're on the outside, you become part of that amorphous entity, a 'damn fine staff.' (Alfred Gillette)
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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the inequality of values is constant. Gold simply is not brass or iron;
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Oh, God, she loathed them all! Mindless, stupid men. Playing with the lives of other men, knowing so little, thinking they knew so much.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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It was the calm of the observer, the uninvolved observer, separated from the events, knowing of them but not essentially involved.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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emotional stress that produced stagnate hysteria and mental aphasia, conditions which also resulted in partial or total loss of memory. Amnesia.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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It’s a geometric puzzle; it can happen in any combination of ways. Physically or psychologically—or a little of both. It can be permanent or temporary, all or part. No rules!
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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C’est vrai, madame! In banking and law … indeed, as in life itself … timing is everything. You have nothing to fear.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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the connecting fibers of the corpus callosum;
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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concentrate on nothing … and everything. The outlines of the truth were being presented to him, shape by enigmatic shape, each more startling than the last. He was not at all sure he was capable—mentally capable—of absorbing a great deal more.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Of course not. A goat does not willingly enter the wolf’s cave.” “Goats are surefooted; they’ve got an accurate sense of smell.” “And they are cautious, mein Herr. Because the wolf is faster, infinitely more aggressive. There would be only one chase. The goat’s last.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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That’s incredible,” said the congressman. “Or incredibly incompetent.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Call it the courage of an insignificant goat who has survived.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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And I’d prefer you function the very best you can at that appointment. My interests are extremely selfish, no remissions permitted.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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for life was lived for active memories; the dormant ones lost meaning.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Above all else, he had to show control, for what afflicted him was so uncontrollable. He had to appear completely lucid—sane within the boundaries of his memory.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
“
And I know now it will happen over and over again until it stops for you. You hear words, you see images, and fragments of things come back to you that you can’t understand, but because they’re there you condemn yourself. You always will condemn yourself until someone proves to you that whatever you were … there are others using you, who will sacrifice you. But there’s also someone else out there who wants to help you, help us. That’s the message!
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Whenever you’re in a stress situation yourself—and there’s time, of course—do exactly as you would do when you project yourself into one you’re observing. Let your mind fall free, let whatever thoughts and images that surface come cleanly. Try not to exercise any mental discipline. Be a sponge; concentrate on everything and nothing. Specifics may come to you, certain repressed conduits electrically prodded into functioning.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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Oh, God, she loathed them all! Mindless, stupid men. Playing with the lives of other men, knowing so little, thinking they knew so much. They had not listened! They never listened until it was too late, and then only with stern forbearance and strong reminders of what might have been—had things been as they were perceived to be, which they were not. The corruption came from blindness, the lies from obstinacy and embarrassment. Do not embarrass the powerful; the napalm said it all.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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If there was such a life and he could accept it without the terrible labyrinth from which he could find no escape. But it was more than that. In a manmade labyrinth one kept moving, running, careening off walls, the contact itself a form of progress, if only blind. His personal labyrinth had no walls, no defined corridors through which to race.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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It’s an insoluble dilemma, really. Presidents change, different men with different temperaments and appetites sit in the Oval Office. However, a long-range intelligence strategy doesn’t change, not one like this. Yet an offhand remark over a glass of whiskey in a postpresidential conversation, or an egotistical phrase in a memoir, can blow that same strategy right to hell. There isn’t a day that we don’t worry about those men who have survived the White House.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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It explains you.” “A hollow shell who doesn’t even own the memories he thinks he has? With demons running around inside kicking hell out of the walls? It’s not a pleasant prospect.” “Those aren’t demons, my darling. They’re parts of you—angry, furious, screaming to get out because they don’t belong in the shell you’ve given them.” “And if I blow that shell apart, what’ll I find?” “Many things. Some good, some bad, a great deal that’s been hurt. But Cain won’t be there, I promise you that. I believe in you, my darling. Please don’t give up.” He kept his distance, a glass wall between them.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
“
They drove back to Paris on the assumption that they would be far less obvious among the crowds of the city than in an isolated country inn. A blond-haired man wearing tortoise-shell glasses, and a striking but stern-faced woman, devoid of makeup, and with her hair pulled back like an intense graduate student at the Sorbonne, were not out of place in Montmartre. They took a room at the Terrasse on the rue de Maistre, registering as a married couple from Brussels. In the room, they stood for a moment, no words necessary for what each was seeing and feeling. They came together, touching, holding, closing out the abusive world that refused them peace, that kept them balancing on taut wires next to one another, high above a dark abyss; if either fell, it was the end for both. Bourne could not change his color for the immediate moment. It would be false, and there was no room for artifice. “We need some rest,” he said. “We’ve got to get some sleep. It’s going to be a long day.” They made love. Gently, completely, each with the other in the warm, rhythmic comfort of the bed. And there was a moment, a foolish moment, when adjustment of an angle was breathlessly necessary and they laughed. It was a quiet laugh, at first even an embarrassed laugh, but the observation was there, the appraisal of foolishness intrinsic to something very deep between them. They held each other more fiercely when the moment passed, more and more intent on sweeping away the awful sounds and the terrible sights of a dark world that kept them spinning in its winds. They were suddenly breaking out of that world, plunging into a much better one where sunlight and blue water replaced the darkness. They raced toward it feverishly, furiously, and then they burst through and found it. Spent, they fell asleep, their fingers entwined.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
“
Anything’s possible. I have no answers, Jason, only discrepancies, things that can’t be explained—that should be explained. You haven’t once, ever, displayed a need or a drive for what you say you might have been. And without those things a man like that couldn’t be. Or you couldn’t be him.” “I’m him.” “Listen to me. You’re very dear to me, my darling, and that could blind me, I know it. But I also know something about myself. I’m no wide-eyed flower child; I’ve seen a share of this world, and I look very hard and very closely at those who attract me. Perhaps to confirm what I like to think are my values—and they are values. Mine, nobody else’s.” She stopped for a moment and moved away from him. “I’ve watched a man being tortured—by himself and by others—and he won’t cry out. You may have silent screams, but you won’t let them be anyone else’s burden but your own. Instead, you probe and dig and try to understand. And that, my friend, is not the mind of a cold-blooded killer, any more than what you’ve done and want to do for me. I don’t know what you were before, or what crimes you’re guilty of, but they’re not what you believe—what others want you to believe. Which brings me back to those values I spoke of. I know myself. I couldn’t love the man you say you are. I love the man I know you are. You just confirmed it again. No killer would make the offer you just made.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
“
In the room, they stood for a moment, no words necessary for what each was seeing and feeling. They came together, touching, holding, closing out the abusive world that refused them peace, that kept them balancing on taut wires next to one another, high above a dark abyss; if either fell, it was the end for both. Bourne could not change his color for the immediate moment. It would be false, and there was no room for artifice. “We need some rest,” he said. “We’ve got to get some sleep. It’s going to be a long day.” They made love. Gently, completely, each with the other in the warm, rhythmic comfort of the bed. And there was a moment, a foolish moment, when adjustment of an angle was breathlessly necessary and they laughed. It was a quiet laugh, at first even an embarrassed laugh, but the observation was there, the appraisal of foolishness intrinsic to something very deep between them. They held each other more fiercely when the moment passed, more and more intent on sweeping away the awful sounds and the terrible sights of a dark world that kept them spinning in its winds. They were suddenly breaking out of that world, plunging into a much better one where sunlight and blue water replaced the darkness. They raced toward it feverishly, furiously, and then they burst through and found it. Spent, they fell asleep, their fingers entwined.
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Robert Ludlum (The Bourne Identity (Jason Bourne, #1))
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When clients want to add a bunch of confusion to their marketing message, I ask them to consider the ramifications of doing so if they were writing a screenplay. I mean, what if The Bourne Identity were a movie about a spy named Jason Bourne searching for his true identity but it also included scenes of Bourne trying to lose weight, marry a girl, pass the bar exam, win on Jeopardy, and adopt a cat? The audience would lose interest. When storytellers bombard people with too much information, the audience is forced to burn too many calories organizing the data. As a result, they daydream, walk out of the theater, or in the case of digital marketing, click to another site without placing an order. Why do so many brands create noise rather than music? It’s because they don’t realize they are creating noise. They actually think people are interested in the random information they’re doling out. This is why we need a filter. The essence of branding is to create simple, relevant messages we can repeat over and over so that we “brand” ourselves into the public consciousness.
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Donald Miller (Building a StoryBrand: Clarify Your Message So Customers Will Listen)
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Writing about conflict resolution and issues relating to identity, Barbour and Bourne (2020) have highlighted the usefulness of adapting the same questions to reflect on the future relationship. For example: How do we need to perceive ourselves as a team? How do we need to perceive the other team? How do we need the other team to perceive us? How do we need the other team to perceive themselves?
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Lucy Widdowson (Building Top-Performing Teams: A Practical Guide to Team Coaching to Improve Collaboration and Drive Organizational Success)
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The 4-Hour Workweek Films: The Bourne Identity, Shaun of the Dead “Flow” album: Gran Hotel Buenos Aires by Federico Aubele “Wake-up” album: One-X by Three Days Grace The 4-Hour Body Films: Casino Royale, Snatch “Flow” album: Luciano Essential Mix (2009, Ibiza) featuring DeadMau5 “Wake-up” album: Cold Day Memory by Sevendust The 4-Hour Chef Films: Babe (Yes, the pig movie. It was the first thing that popped up for free under Amazon Prime. I watched it once as a joke and it stuck. “That’ll do, pig. That’ll do.” Gets me every time.) “Flow” album: “Just Jammin’” extended single track by Gramatik “Wake-up” album: Dear Agony by Breaking Benjamin Tools of Titans Films: None! I was traveling and used people-watching at late-night cafés in Paris and elsewhere as my “movie.” “Flow” album: I Choose Noise by Hybrid “Wake-up” album: Over the Under by Down
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Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
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Películas: El caso Bourne30 (Bourne Identity), Zombies party31 (Shaun of the Dead).
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Timothy Ferriss (Armas de titanes: Los secretos, trucos y costumbres de aquellos que han alcanzado el éxito (Deusto) (Spanish Edition))
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The loss of white ethno-cultural confidence manifests itself in other ways. Among the most important is a growing unwillingness to indulge the anti-white ideology of the cultural left. When whites were an overwhelming majority, empirically unsupported generalizations about whites could be brushed off as amusing and mischievous but ultimately harmless. As whites decline, fewer are willing to abide such attacks. At the same time, white decline emboldens the cultural left, with its dream of radical social transformation. ...
From a modern perspective, the most important figure to emerge from this milieu is Randolph Bourne. Viewed as a spokesman for the new youth culture in upper-middle-class New York, Bourne burst onto the intellectual scene with an influential essay in the respected Atlantic Monthly in July 1916 entitled ‘Trans-National America’. Here Bourne was influenced by Jewish-American philosopher Horace Kallen. Kallen was both a Zionist and a multiculturalist. Yet he criticized the Liberal Progressive worldview whose cosmopolitan zeal sought to consign ethnicity to the dustbin of history. Instead, Kallen argued that ‘men cannot change their grandfathers’. Rather than all groups giving and receiving cultural influence, as in Dewey’s vision, or fusing together, as mooted by fellow Zionist Israel Zangwill in his play The Melting Pot (1910), Kallen spoke of America as a ‘federation for international colonies’ in which each group, including the Anglo-Saxons, could maintain their corporate existence. There are many problems with Kallen’s model, but there can be no doubt that he treated all groups consistently.
Bourne, on the other hand, infused Kallen’s structure with WASP self-loathing. As a rebel against his own group, Bourne combined the Liberal Progressives’ desire to transcend ‘New Englandism’ and Protestantism with Kallen’s call for minority groups to maintain their ethnic boundaries. The end product was what I term asymmetrical multiculturalism, whereby minorities identify with their groups while Anglo-Protestants morph into cosmopolites. Thus Bourne at once congratulates the Jew ‘who sticks proudly to the faith of his fathers and boasts of that venerable culture of his’, while encouraging his fellow Anglo-Saxons to:
"Breathe a larger air . . . [for] in his [young Anglo-Saxon’s] new enthusiasms for continental literature, for unplumbed Russian depths, for French clarity of thought, for Teuton philosophies of power, he feels himself a citizen of a larger world. He may be absurdly superficial, his outward-reaching wonder may ignore all the stiller and homelier virtues of his Anglo-Saxon home, but he has at least found the clue to that international mind which will be essential to all men and women of good-will if they are ever to save this Western world of ours from suicide."
Bourne, not Kallen, is the founding father of today’s multiculturalist left because he combines rebellion against his own culture and Liberal Progressive cosmopolitanism with an endorsement – for minorities only – of Kallen’s ethnic conservatism. In other words, ethnic minorities should preserve themselves while the majority should dissolve itself.
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Eric Kaufmann (Whiteshift: Populism, Immigration and the Future of White Majorities)
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Page 80-81: The two patron saints of American cultural pluralism rejected both Anglo-conformity and the melting-pot ideal. In his 1915 essay in the Nation, “Democracy vs. The Melting Pot,” Horace Kallen was concerned (as the essay’s title suggests) with rebutting the melting-pot conception, as well as the nativism displayed in Edward A. Ross’s polemic the Old World and the New (1915), the immediate occasion of Kallen’s essay. Randolph Bourne, in his July 1916 essay “Trans-National America,” concentrated on contesting the claims of Anglo-conformists for the superiority of Anglo-American culture.* Rejecting assimilation, in its Anglo-conformist and melting-pot forms, both of which, in their different ways, envision the United States as a conventional nation-state with a single predominant culture, cultural pluralists counterposed the ideal of the United States as a nonnational confederation of minorities, a country without a majority nation.
* Kallen and Bourne arguable were influenced by their ethnic backgrounds, Kallen was a Harvard-educated German Jew who had immigrated to the United States with his family at the age of five, a Zionist and a proponent of secular (but not religious) Jewishness, Kallen was concerned about the effect on a distinct Jewish-American identity of the melting-pot ideal that Zangwill (an English Jew) promoted.
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Michael Lind (The Next American Nation: The New Nationalism and the Fourth American Revolution)