Cause Drama Quotes

Only those are happy who never think or, rather, who only think about life's bare necessities, and to think about such things means not to think at all. True thinking resembles a demon who muddies the spring of life or a sickness which corrupts its roots. To think all the time, to raise questions, to doubt your own destiny, to feel the weariness of living, to be worn out to the point of exhaustion by thoughts and life, to leave behind you, as symbols of your life's drama, a trail of smoke and blood - all this means you are so unhappy that reflection and thinking appear as a curse causing a violent revulsion in you.

Emily kept telling herself this was inevitable, that it was why she’d come to Ireland: to see what her dreams led to. But seeing the man caused goosebumps to rise up on her skin, as if she were seeing a ghost. Her extremities began to tingle, and she felt the blood draining from her face.

In order to become whole we must try, in a long process, to discover our own personal truth, a truth that may cause pain before giving us a new sphere of freedom. If we choose instead to content ourselves with intellectual “wisdom,” we will remain in the sphere of illusion and self-deception.

You've got a degree in philosophy; so you think you're cleverer than me. But I'm not just some drama queen. Cause it's where you're at, not where you've been.

Secrets,’ she replied, casting my trousers aside, ‘are difficult things. Not precise. Not always the same for the one who tells as for the one who receives. They make demands. They may cause you to ask yourself, “Am I worthy?”’ At which, as if to illustrate the point, she removed her bra and watched me follow the lines of her magnificent form with my eyes.

There's more to life than cause and effect.

Bored people looked for drama and caused trouble.

Save your breath 'cause here comes the truth; I'm over the drama of you, and that's somethng new

Dearie, I’m not going to speak for other people.” Megan manoeuvred her lips into a smile, but her eyes stayed cold. “Now. What else would you like to see me about?” “Do you think things will go backwards if the Rowlands push for change?” “It’s not my place to judge that, but I’ll tell you this for nothing. The Rowlands aren’t the only ones with a vested interest in everything around here. They might own it on paper, but folks make their living here, and if the Rowlands threaten that, they’ll get more than they bargained for.” Something in Megan’s tone caused Saskia to tense. The smile that Megan continued to hold on her lips seemed now an image of threat.

It is not a single crime when a child is photographed while sexually assaulted (raped.) It is a life time crime that should have life time punishments attached to it. If the surviving child is, more often than not, going to suffer for life for the crime(s) committed against them, shouldn't the pedophiles suffer just as long? If it often takes decades for survivors to come to terms with exactly how much damage was caused to them, why are there time limits for prosecution?

She's locked up with a spinning wheel She can't recall what it was like to feel She says, "This room's gonna be my grave And there's no one who can save me," She sits down to her colored thread She knows lovers waking up in their beds She says, "How long can I live this way Is there someone I can pay to let me go 'Cause I'm half sick of shadows I want to see the sky Everyone else can watch as the sun goes down So why can't I And it's raining And the stars are falling from the sky And the wind And the wind I know it's cold I've been waiting For the day I will surely die And it's here And it's here for I've been told That I'll die before I'm old And the wind I know it's cold... She looks up to the mirrored glass She sees a horse and rider pass She says, "This man's gonna be my death 'Cause he's all I ever wanted in my life And I know he doesn't know my name And that all the girls are all the same to him But still I've got to get out of this place 'Cause I don't think I can face another night Where I'm half sick of shadows And I can't see the sky Everyone else can watch as the tide comes in So why can't I But there's willow trees And little breezes, waves, and walls, and flowers And there's moonlight every single night As I'm locked in these towers So I'll meet my death But with my last breath I'll sing to him I love And he'll see my face in another place," And with that the glass above Her cracked into a million bits And she cried out, "So the story fits But then I could have guessed it all along 'Cause now some drama queen is gonna write a song for me," She went down to her little boat And she broke the chains and began to float away And as the blood froze in her veins she said, "Well then that explains a thing or two 'Cause I know I'm the cursed one I know I'm meant to die Everyone else can watch as their dreams untie So why can't I

The captain saluted and left, and Alix heard him shouting orders to men to form a firing squad and then orders for the prisoners to be brought out and lined up. There seemed to be some kind of altercation going on. Someone was protesting vocally. ‘I am a British airman and I demand to be treated as a prisoner of war!’ The sound of the voice struck her somewhere in the middle of her chest and she jumped to her feet and ran out of the house. A ragged line of prisoners was drawn up on the far side of the clearing with a dozen Partisans carrying rifles facing them. Her eyes went along the line. Every face was heavily bearded, unrecognisable at a distance, but then a difference in the way the men were dressed struck her. All wore tunics that had some suggestion of a uniform but on one man the trousers that protruded below it, though ragged and faded, were unmistakably Air Force blue. ‘Ready!’ shouted the captain. ‘Take aim.’ ‘No!’ Alix tore across the clearing and flung herself between the firing line and the prisoners. ‘No! I know this man! He is an American, but with the British RAF. He is not an enemy.’ ‘Not an enemy?’ the captain queried. ‘Then what is he doing fighting alongside the Chetniks?’ ‘I don’t know,’ Alix said breathlessly. ‘But you can’t shoot him without finding out. If you shoot a British serviceman you could jeopardise any help we might get.’ The captain looked uneasy. ‘All right,’ he said. ‘We’ll let Comrade Tito decide about this.’ He called to one of the men guarding the prisoners. ‘Bring that man over here. The one who’s been causing all the trouble.’ The man in the blue trousers was shoved roughly forward. ‘Alix!’ he gasped hoarsely. ‘Thank god!’ She caught hold of his arm. ‘Steve? It is you, isn’t it?’ ‘What’s left of him,’ he responded, with an effort at a smile.  

It’s a lot of real G’s doing time/ Cause a groupie bit the truth and told a lie.” —TUPAC

Life has no map; it's made of random events, always caused by something beyond your control.

Romance is everything to turn it into a cause for given is priceless

I couldn't stop now. I'd caused so much misery that stopping now would earn me all the misery plus no reward at the end. I had to keep going.

Your words were powerful. Your words suffocated me. I was reaching for you—I was reaching for the person who caused me so much pain, to save me.

At some point during my research, I came across the term "gender fluid." Reading those words was a revelation. It was like someone tore a layer of gauze off the mirror, and I could see myself clearly for the first time. There was a name for what I was. It was a thing. Gender fluid. Sitting there in front of my computer--like I am right now--I knew I would never be the same. I could never go back to seeing it the old way; I could never go back to not knowing what I was. But did that glorious moment of revelation really change anything? I don't know. Sometimes, I don't think so. I may have a name for what I am now--but I'm just as confused and out of place as I was before. And if today is any indication, I'm still playing out that scene in the toy store--trying to pick the thing that will cause the least amount of drama. And not having much success.

...this two-way hatred. I don’t understand it. I wonder how much of it is caused by fear?

Free yourself from the people who cause you drama and poison your soul. You know who they are... The first ones you thought of when you read this. They have to go.

The power of your story may not lie in its drama, but in its absolutely perfect relationship to your cause.

Tito had set up his headquarters in the Town Hall and Alix found him in a spacious room overlooking the main square. As always, he was dressed in the simple grey tunic and breeches of Partisan uniform, without any badges of rank or other decoration. It was enough that something in his bearing and in his eyes projected a natural authority. Lying under his desk was his Alsatian dog, Luks, his constant companion. He greeted her with a smile. ‘Ah, my flame of the forest! Come in. Sit, sit.’ Alix felt a warm flush of pleasure. The nickname was one Tito had coined for her in the course of the many battles they had fought and it signified a special relationship that had begun in the early days of the war, before they left Belgrade, when she had been able to bring a contingent of workers from her father’s estate to join the cause and, more importantly, with Drago’s help, reveal the location of arms handed out by the agents of the Special Operations Executive, (known to its members as SOE), to village heads in preparation for possible resistance. Tito had decided then that she was his lucky charm.

Every thing's for sale out here. Anything you want. About the only thing you can't buy is my dignity and self-respect, cause those were the first to go. And I gave them away for free. - excerpt from: freefalling

This has been a novel about some people who were punished entirely too much for what they did. They wanted to have a good time, but they were like children playing in the street; they could see one after another of them being killed--run over, maimed, destroyed--but they continued to play anyhow. We really all were very happy for a while, sitting around not toiling but just bullshitting and playing, but it was for such a terrible brief time, and then the punishment was beyond belief: even when we could see it, we could not believe it. For example, while I was writing this I learned that the person on whom the character Jerry Fabin is based killed himself. My friend on whom I based the character Ernie Luckman died before I began the novel. For a while I myself was one of these children playing in the street; I was, like the rest of them, trying to play instead of being grown up, and I was punished. I am on the list below, which is a list of those to whom this novel is dedicated, and what became of each. Drug misuse is not a disease, it is a decision, like the decision to step out in front of a moving car. You would call that not a disease but an error in judgment. When a bunch of people begin to do it, it is a social error,a life-style. In this particular life-style the motto is "Be happy now because tomorrow you are dying," but the dying begins almost at once, and the happiness is a memory. It is, then, only a speeding up, an intensifying, of the ordinary human existence. It is not different from your life-style, it is only faster. It all takes place in days or weeks or months instead of years. "Take the cash and let the credit go," as Villon said in 1460. But that is a mistake if the cash is a penny and the credit a whole lifetime. There is no moral in this novel; it is not bourgeois; it does not say they were wrong to play when they should have toiled;it just tells what the consequences were. In Greek drama they were beginning, as a society, to discover science, which means causal law. Here in this novel there is Nemesis: not fate, because any one of us could have chosen to stop playing in the street, but, as I narrate from the deepest part of my life and heart, a dreadful Nemesis for those who kept on playing. I myself,I am not a character in this novel; I am the novel. So, though, was our entire nation at this time. This novel is about more people than I knew personally. Some we all read about in the newspapers. It was, this sitting around with our buddies and bullshitting while making tape recordings, the bad decision of the decade, the sixties, both in and out of the establishment. And nature cracked down on us. We were forced to stop by things dreadful. If there was any "sin," it was that these people wanted to keep on having a good time forever, and were punished for that, but, as I say, I feel that, if so, the punishment was far too great, and I prefer to think of it only in a Greek or morally neutral way, as mere science, as deterministic impartial cause-and-effect. I loved them all. Here is the list, to whom I dedicate my love: To Gaylene deceased To Ray deceased To Francy permanent psychosis To Kathy permanent brain damage To Jim deceased To Val massive permanent brain damage To Nancy permanent psychosis To Joanne permanent brain damage To Maren deceased To Nick deceased To Terry deceased To Dennis deceased To Phil permanent pancreatic damage To Sue permanent vascular damage To Jerri permanent psychosis and vascular damage . . . and so forth. In Memoriam. These were comrades whom I had; there are no better. They remain in my mind, and the enemy will never be forgiven. The "enemy" was their mistake in playing. Let them all play again, in some other way, and let them be happy.

What is unconscious cannot be abolished by proclamation or prohibition. One can, however, develop sensitivity toward recognizing it and begin to experience it consciously, and thus eventually gain control over it. A mother cannot truly respect her child as long as she does not realize what deep shame she causes him with an ironic remark, intended only to cover her own uncertainty. Indeed, she cannot be aware of how deeply humiliated, despised, and devalued her child feels, if she herself has never consciously suffered these feelings, and if she tries to fend them off with irony.

There's a certain drama in going down in a good cause. Any decent politician is masochistic enough to dream now and then of going down in flames while the angels sing. But, -Dr. Lamont, to do that one has to have a fighting chance. One has to have something to fight for that may— justmay— win out.

...Don't be surprised, and I say it darkly, do not be surprised if you lose your Luke in this cause; perhaps Mrs. Dudley has not yet had her own mid morning snack, and she is perfectly capable of a filet de Luke á la meuniére, or perhaps dieppoise, depending upon her mood; if I do not return" -and he shook his finger warningly under the doctor's nose- "I entreat you to regard your lunch with the gravest suspicion." Bowing extravagantly, as befitted one off to slay a giant, he closed the door behind him.

If you want to be with someone, be with them! Don't make excuses, cause drama, or make them fight for a spot in your life. Express your love and commitment with words and actions. And if you don't feel inspired to show your love this way, be kind enough to let them go... so they can find someone who will.

Washington reflected bitterly. He was short of money, gunpowder, shot, and food. All he had going for him was The Cause, the Rights of Man. Very noble and all that. But just add a whiff of money, gunpowder, shot, and food, and the old Cause might really click. Congress had pledged more help, of course, which, knowing Congress, meant that the aid might come in a decade or so, after the war was lost. He sighed and gazed heavenward. Was a tiny miracle too much to ask?

What you give meaning to is what causes your emotion. Before you react know why you are giving something so much energy or fear. When you begin to understand why you give things meaning you can begin to change how you react and why you do what you do.

Our individual separateness is in a sense illusory; we are parts of the great stream of law and cause, parts of God; we are the flitting forms of a being greater than ourselves, and endless while we die. Our bodies are cells in the body of the race, our race is an incident in the drama of life; our minds are the fitful flashes of eternal light.

If the enemy sends it's Goliath into battle, it magnifies our cause.

It is right for women to stand by a woman's cause.

The important thing is to set the passion free. The drama is everything, the cause of the drama nothing.

The Iraqi sun quickly heated the air to an unbearable one hundred twenty three degree’s, causing an unquenchable thirst to boil up in him. Thomas then dropped his rifle under his right arm, where it hung beneath his pit by a strap called a fast sling, there the weapon dangled under his sweat soaked uniform.

He was conscious of being irritated by ridiculously small causes, which were half of his own creation. Why was he making any fuss about Mrs. Casaubon? And yet he felt as if something had happened to him with regard to her. There are characters which are continually creating collisions and nodes for themselves in dramas which nobody is prepared to act with them. Their susceptibilities will clash against objects that remain innocently quiet.

Oh, indeed, they can imitate feelings, but the only real feelings they seem to have – the thing that drives them and causes them to act out different dramas for the effect – is a sort of “predatorial hunger” for what they want.

We see then that the self too is an imaginary story, just like nations, gods and money. Each of us has a sophisticated system that throws away most of our experiences, keeps only a few choice samples, mixes them up with bits from movies we’ve seen, novels we’ve read, speeches we’ve heard, and daydreams we’ve savoured, and out of all that jumble it weaves a seemingly coherent story about who I am, where I came from and where I am going. This story tells me what to love, whom to hate and what to do with myself. This story may even cause me to sacrifice my life, if that’s what the plot requires. We all have our genre. Some people live a tragedy, others inhabit a never-ending religious drama, some approach life as if it were an action film, and not a few act as if in a comedy. But in the end, they are all just stories.

I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions. They bring with them memories of pleasant days together. At the moment when they come across him in the play he is staggering under the weight of a burden intolerable to one of his temperament. The dead have come armed out of the grave to impose on him a mission at once too great and too mean for him. He is a dreamer, and he is called upon to act. He has the nature of the poet, and he is asked to grapple with the common complexity of cause and effect, with life in its practical realisation, of which he knows nothing, not with life in its ideal essence, of which he knows so much. He has no conception of what to do, and his folly is to feign folly. Brutus used madness as a cloak to conceal the sword of his purpose, the dagger of his will, but the Hamlet madness is a mere mask for the hiding of weakness. In the making of fancies and jests he sees a chance of delay. He keeps playing with action as an artist plays with a theory. He makes himself the spy of his proper actions, and listening to his own words knows them to be but 'words, words, words.' Instead of trying to be the hero of his own history, he seeks to be the spectator of his own tragedy. He disbelieves in everything, including himself, and yet his doubt helps him not, as it comes not from scepticism but from a divided will. Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation. When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette. That is as far as they can attain to in 'the contemplation of the spectacle of life with appropriate emotions.' They are close to his very secret and know nothing of it. Nor would there be any use in telling them. They are the little cups that can hold so much and no more.

a person once said.... there comes a time in life, when you walk away from all the drama and people who create it. you surround yourself with people who make you laugh, forget the bad that cause grief and shame, and focus on the good that make you proud. so love the people who treat you right, pray for those that don't. lifes to short to be anything but happy. falling down is a part of life, getting back up is living.

Modern culture rejects this belief in a great cosmic plan. We are not actors in any larger-than-life drama. Life has no script, no playwright, no director, no producer – and no meaning. To the best of our scientific understanding, the universe is a blind and purposeless process, full of sound and fury but signifying nothing. During our infinitesimally brief stay on our tiny speck of a planet, we fret and strut this way and that, and then are heard of no more. Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’.

All teenagers are drama queens inside their minds, even the mousiest of us. We load and reload movies of ourselves in heroic postures and outlandish triumphs, movies that if they were ever to be played in front of an audience of people we know and love, would cause us to shrivel in shame

If a parent abandons a child, or a child abandons a parent, it is the most painful and unforgiving thing to do. I've been a victim of both, and I have learned just how hard it is to live with. In addition, I know there can never be forgiveness or resolution without communication. This only causes unnecessary, lifetime pain.

Such is the privilege of survival: to be allowed to fashion the means that fit our ends, to cobble together a narrative that reveals (as by the divine light of illumination) the predestined arc of our days. This is no small gift. With it we can neutralize all but the greatest losses, reduce even the greatest bastards to nothing more than bit actors in the drama of our lives, put on this earth for the sole purpose of forwarding our cause. Blessed are those who can believe their own stories.

While in principle groups for survivors are a good idea, in practice it soon becomes apparent that to organize a successful group is no simple matter. Groups that start out with hope and promise can dissolve acrimoniously, causing pain and disappointment to all involved. The destructive potential of groups is equal to their therapeutic promise. The role of the group leader carries with it a risk of the irresponsible exercise of authority. Conflicts that erupt among group members can all too easily re-create the dynamics of the traumatic event, with group members assuming the roles of perpetrator, accomplice, bystander, victim, and rescuer. Such conflicts can be hurtful to individual participants and can lead to the group’s demise. In order to be successful, a group must have a clear and focused understanding of its therapeutic task and a structure that protects all participants adequately against the dangers of traumatic reenactment. Though groups may vary widely in composition and structure, these basic conditions must be fulfilled without exception. Commonality with other people carries with it all the meanings of the word common. It means belonging to a society, having a public role, being part of that which is universal. It means having a feeling of familiarity, of being known, of communion. It means taking part in the customary, the commonplace, the ordinary, and the everyday. It also carries with it a feeling of smallness, or insignificance, a sense that one’s own troubles are ‘as a drop of rain in the sea.’ The survivor who has achieved commonality with others can rest from her labors. Her recovery is accomplished; all that remains before her is her life.

[The unconscious has] been on its own for a long time. Of course it has no access to the world except through your own sensorium. Otherwise it would just labor in the dark. Like your liver. For historical reasons it's loath to speak to you. It prefers drama, metaphor, pictures. But it understands you very well. And it has no other cause save yours.

The Obi and Rigaud were equally impassible, but the negroes appeared terrified at the horrible drama that their general had caused to be enacted before them.

Phones have caused all my uni dramas to date. You wouldn't catch Elizabeth Bennet sending a comedy guinea pig picture to Darcy. She'd have to paint it and then send it by horseman.

The causes of familial discord and distance are countless, but the results are often the same: secrecy, blame, sadness, hurt, confusion, and feelings of loss and grief.

20% of the people in your life will generate 80% of the drama - in turn, 20% of the people in your life will cause 80% of your happiness or sorrow.

A valley full of genuine suffering, and of joys that often turn out to be false, and so incredibly tumultuous that it takes something God only knows how outrageous to cause a lasting stir. But here and there some immense heaping up of vices and virtues turns mere sorrow grand and solemn, and their very sight makes even selfishness and personal advantage stop and feel pity - though that notion of pity is much like some tasty fruit that gets gobbled right up. Civilization's high-riding chariot, like the believer-crushing car of the idol Juggernaut, barely slows down when it comes to a heart a bit harder to crack, and if such a heart gets in the way it's pretty quickly smashed, and on goes the glorious march.[...] After you've read all about Pere Goriot's miserable secrets, you'll have yourself a good dinner and blame your indifference on the author, scolding him for exaggeration, accusing him of having waxed poetic. Ah, but let me tell you: this drama is not fictional, it's not a novel. All is true - so true you'll be able to recognize everything that goes into it in your own life, perhaps even in your heart.

Danny’s brows furrowed with another scowl. “You’re so goddamn obstinate, Kate, so fuckin’ selfish. You don’t give a shit ‘bout how I feel or ‘bout how much it torments me.” “Yes, I do,” she objected, her throat thick despite her anger. “That’s why our ways must part for a while. Because we’re both suffering. We need to be apart from each other, Danny, don’t you see?” “You need to be apart, damn ya,” he growled, clenching his fists. “You needa get rid of me ‘cause ya don’t wanna be reminded of how ya were toyin’ with me. So your conscience won’t haunt ya, tellin’ ya that it was wrong to take advantage of my feelings as long as ya needed me.” Katherine let out an outraged gasp. “I never took advantage of you or toyed with you—ever! I’ve seen you as my brother. I didn’t know your feelings for me went deeper.” Danny huffed a hard, sardonic laugh, and for a moment she felt strongly reminded of Joe. “Don’t play innocent with me, Kate! You knew exactly what ya were doin’. All that banterin’, your enchanting smiles—. You’re a grown woman, not an inexperienced girl. You already had yasself a husband, ya know the deal.

Kate was about to protest when something caused her to look in her mother’s direction. She was standing statue-like in front of the television with that brave, painted-on smile. Then Kate realized what had caught her attention: her mother’s tear-filled eyes were reflecting the on-off motion of the blinkers like a watery mirror. Kate stared transfixed at the flashing points of light that betrayed her mother’s pain. The urge to tell her father how much she wanted him to be proud of her and how much he had hurt her, faded in the dark depths of her mother’s eyes.

Fuck you. You think this is a scene in some indie drama you take my wife to in the Village, some pack of lies the guy at the Times said was so naturalistically performed. But in real life? We’re bad actors. We’re slobs who actually hurt. You don’t feel it, you couldn’t, but the pain you’re causing us—causing my family—it’s destroying our lives, what we have together. What we had.

Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’.

The scent of the sweating rabbits pressing against the cage, filled Striker’s snout, causing him to drip huge drool wads--lathering the rabbits that pushed against the back of the cage with big, moist doggie loogies.

Life’s problems were too limited, that it was a pity, that the function of the artist was to increase these problems, to cause upheavals in the brain, to make people wild and free so that there would be more drama to their lives.

(Resilience) acknowledges from the outset that things will go wrong. All of our solutions will eventually outlive their usefulness. We will make messes, and disruption we do not cause or predict will land on us. This is the drama of being alive.

Embassy kids are supposed to be good at blending into the wallpaper and making ourselves scarce. We're not supposed to charge into the center of international drama. But I'm pretty sure we're not supposed to cause any international drama either.

We do naught but scratch the world, frail and fraught. Every vast drama of civilizations, of peoples with their certainties and gestures, means nothing, affects nothing. Life crawl on even on. She wondered if the gift of revelation—of discovering the meaning underling humanity—offered nothing more than a devastating sense of futility. It’s the ignorant who find a cause and cling to it, for within that is the illusion of significance. Faith, a king . . . vengeance . . . all the bastion of fools.

You’ll be my old lady. You’ll stand by my side at club parties, at functions. You’ll sleep in my bed as much as possible until I can get it so you do that every damn night. You’ll meet my kids and suffer through that drama with me ’cause they’re my life and so’re you. You’ll take my cock whenever I want to give it to you and you’ll take my words whenever I need to give ’em to you. And when I’m an asshole, ’cause I’m a man and I got that in me to give, you’ll give me a piece of your mind and then forgive me.

I must tell you something about necks in Japan, if you don't know it; namely, that Japanese men, as a rule, feel about a woman's neck and throat the same way that men in the West might feel about a woman's legs. This is why geisha wear the collars of their kimono so low in the back that the first few bumps of the spine are visible; I suppose it's like a woman in Paris wearing a short skirt. Auntie painted onto the back of Hatsumomo's neck a design called sanbon-ashi-"three legs." It makes a very dramatic picture, for you feel as if you're looking at the bare skin of the neck through little tapering points of a white fence. It was years before I understood the erotic effect it has on men; but in a way, it's like a woman peering out from between her fingers. In fact, a geisha leaves a tiny margin of skin bare all around the hairline, causing her makeup to look even more artificial, something like a mask worn in Noh drama. When a man sits beside her and sees her makeup like a mask, he becomes that much more aware of the bare skin beneath.

We shall not follow the record of his wars, for though there is drama in the details of strife, there is a dreary eternity in its causes and results; such history becomes a menial attendance upon the vicissitudes of power, in which victories and defeats cancel one another into a resounding zero.

me. I wonder if President Snow will insist we have children. If we do, they’ll have to face the reaping each year. And wouldn’t it be something to see the child of not one but two victors chosen for the arena? Victors’ children have been in the ring before. It always causes a lot of excitement and generates talk about how the odds are not in that family’s favor. But it happens too frequently to just be about odds. Gale’s convinced the Capitol does it on purpose, rigs the drawings to add extra drama. Given all the trouble I’ve caused, I’ve probably guaranteed any child of mine a spot in the Games.

I read the miserable story of the play in which she was the one true loving soul. It obviously described the spread of an epidemic brain fever which, like typhoid, was perhaps caused by seepings from the palace graveyard into the Elsinore water supply. From an inconspicuous start among sentries on the battlements the infection spread through prince, king, prime minister and courtiers causing hallucinations, logomania and paranoia resulting in insane suspicions and murderous impulses. I imagined myself entering the palace quite early in the drama with all the executive powers of an efficient public health officer. The main carriers of the disease (Claudius, Polonius and the obviously incurable Hamlet) would he quarantined in separate wards. A fresh water supply and efficient modern plumbing would soon set the Danish state right and Ophelia, seeing this gruff Scottish doctor pointing her people toward a clean and healthy future, would be powerless to withhold her love.

Darkness seems to have prevailed and has taken the forefront. This country as in the 'cooperation' of The United States of America has never been about the true higher-good of the people. Know and remember this. Cling to your faith. Roll your spiritual sleeves up and get to work. Use your energy wisely. Transmute all anger, panic and fear into light and empowerment. Don't use what fuels them; all lower-energy. Mourn as you need to. Console who you need to—and then go get into the spiritual and energetic arena. There's plenty work for us to do; within and without. Let's each focus on becoming 'The President of Our Own Life. Cultivate your mind. Pursue your purpose. Shine your light. Elevate past—and reject—any culture of low vibrational energy and ratchetness. Don't take fear, defeat or anger—on or in. The system is doing what they've been created to do. Are you? Am I? Are we—collectively? Let's get to work. No more drifting through life without your higher-self in complete control of your mind. Awaken—fully. Activate—now. Put your frustrations or concerns into your work. Don't lose sight. There is still—a higher plan. Let's ride this 4 year energetic-wave like the spiritual gangsters that we are. This will all be the past soon. Let's get to work and stay dedicated, consistent and diligent. Again, this will all be the past soon. We have preparing and work to do. Toxic energy is so not a game. Toxic energy and low vibrations are being collectively acted out on the world stage. Covertly operating through the unconscious weak spots and blind spots in the human psyche; making people oblivious to their own madness, causing and influencing them to act against–their–own–best–interests and higher-good, as if under a spell and unconsciously possessed. This means that they are actually nourishing the lower vibrational energy with their lifestyle, choices, energy and habits, which is unconsciously giving the lower-energy the very power and fuel it needs—for repeating and recreating endless drama, suffering and destruction, in more and more amplified forms on a national and world stage. So what do we do? We take away its autonomy and power over us while at the same time empowering ourselves. By recognizing how this energetic/spiritual virus or parasite of the mind—operates through our unawareness is the beginning of the cure. Knowledge is power. Applied knowledge is—freedom. Our shared future will be decided primarily by the changes that take place in the psyche of humanity, starting with each of us— vibrationally. In closing and most importantly, the greatest protection against becoming affected or possessed by this lower-energy is to be in touch with our higher vibrational-self. We have to call our energy and power back. Being in touch with our higher-self and true nature acts as a sacred amulet, shielding and protecting us from the attempted effects. We defeat evil not by fighting against it (in which case, by playing its game, we’ve already lost) but by getting in touch with the part of us that is invulnerable to its effects— our higher vibrational-self. Will this defeat and destroy us? Or will it awaken us more and more? Everything depends upon our recognizing what is being revealed to us and our stepping out of the unconscious influence of low vibrational/negative/toxic/evil/distraction energy (or whatever name you relate to it as) that is and has been seeking power over each of our lives energetically and/or spiritually, and step into our wholeness, our personal power, our higher self and vibrate higher and higher daily. Stay woke my friends—let's get to work.

Each of us has a sophisticated system that throws away most of our experiences, keeps only a few choice samples, mixes them up with bits from movies we’ve seen, novels we’ve read, speeches we’ve heard, and daydreams we’ve savoured, and out of all that jumble it weaves a seemingly coherent story about who I am, where I came from and where I am going. This story tells me what to love, whom to hate and what to do with myself. This story may even cause me to sacrifice my life, if that’s what the plot requires. We all have our genre. Some people live a tragedy, others inhabit a never-ending religious drama, some approach life as if it were an action film, and not a few act as if in a comedy. But in the end, they are all just stories. What,

Terrorism is theater. Its real targets are not the innocent victims but the spectators. Those on the political side of the dead are to be frightened, intimidated, cowed, perhaps drawn into ugly retaliation that will spoil their image among the disinterested, who in turn are to be impressed with the desperate vitality and significance of the movement behind the terrorism. Those on the side of the gunmen, the bombers, the hijackers, are to be encouraged that the cause is alive. The goal of terrorism is not to deplete the ranks of an army, to destroy an enemy’s weapons, or to capture a military objective. It seeks an impact on attitudes, and so it must be spectacular. It relies on drama, it thrives on attention, it carries within it the seeds of contagion.

36. Man, thou hast been a citizen in this great state [the world]: what difference does it make to thee whether for five years [or three]? for that which is conformable to the laws is just for all. Where is the hardship then, if no tyrant nor yet an unjust judge sends thee away from the state, but nature who brought thee into it? the same as if a praetor who has employed an actor dismisses him from the stage. “But I have not finished the five acts, but only three of them.”—Thou sayest well, but in life the three acts are the whole drama; for what shall be a complete drama is determined by him who was once the cause of its composition, and now of its dissolution: but thou art the cause of neither. Depart then satisfied, for he also who releases thee is satisfied

Kids in distressed families are great repositories of silence and carry in their bodies whole arctic wastelands of words not to be uttered, stories not to be told. Or to be told in sketchiest form—merely brushed by. It’s an irony that airing these dramas is often a family’s chief taboo. Yet the bristling agony secrecy causes can only be relieved by talk—hours and hours of unmuzzled talk, the recounting of stories. Who listens is almost beside the point, so long as the watching eyes remain lit, and the head tilts at the angle indicating attention and care. Without such talk by the kids of these families, there’s usually a grave sense of personal fault, of failing to rescue those beloveds lost or doomed. That silence ticks out inside its bearer the constant small sting of indictment—what if, what if, what if; why didn’t I, why didn’t I, why didn’t I…

What did the heroines in dramas and books do in such circumstances? Frequently, it seemed, they would use their feminine wiles upon their male captors, promising them amorous attention and then turning the tables upon the foe when the moment was right (But before, of course, sacrificing anything like their virtue for the cause). Bridget hadn't been an agent of the Spirearch for very long, but she felt that she had the concept sufficiently surrounded to see that such a ploy was unlikely to work. Even if Ciriaco had been amenable to such a thing, he had no real reason to release her from her bonds, now, did he? And, in point of fact, what captor with any professionalism at all would be taken in by such a ploy in the first place? Besides, Bridget was not at all sure that she had any feminine wiles. And even if she did, she felt certain that they would not function as flawlessly in life as they did in tales and dramas.

Is it possible, then, to free ourselves altogether from illusions? History demonstrates that they sneak in everywhere, that every life is full of them—perhaps because the truth often seems unbearable to us. And yet the truth is so essential that its loss exacts a heavy toll, in the form of grave illness. In order to become whole we must try, in a long process, to discover our own personal truth, a truth that may cause pain before giving us a new sphere of freedom. If

Immune to the blandishments of religions, countries, families, and whatever else that—with a smattering of emotive images and strains of maudlin music—can move the average citizen to tears or violence, the pessimist is invisible in both history books and the media. Without belief in gods or ghosts, unmotivated by a comprehensive delusion, he could never plant a bomb, plan a revolution, or shed blood for a cause. Pessimists are indeed lackadaisical as partisans in the human drama.

Everyone in life has an issue in their life that’s not quite right. Something’s a little out of balance, and issue that we think of often, but afraid to confront this, in fear of the confrontation it might cause, or the drama it could create. Go after this, and clear your mind. The confrontation won’t last forever. The possible drama will fade. It’s better than wearing this every single day of your life. We have one life. A few days of conflict is better than a lifetime of emotional anguish.

We in the West regard the universe as a creation of God; like an invention or a product. After he created the universe, God set himself to oversee it and manage it. We see God as our boss. He created the universe, he is present in it, he manages every part of it, but he is still separate from it. It's like he installed video cameras all over the universe, so he can see everything that happens, and he can cause this or that to happen, but he is not a part of what happens. The Eastern view is very different. To the Hindu, for example, God didn't create the universe, but God became the universe. Then he forgot that he became the universe. Why would God do this? Basically, for entertainment. You create a universe, and that in itself is very exciting. But then what? Should you sit back and watch this universe of yours having all the fun? No, you should have all the fun yourself. To accomplish this, God transformed into the whole universe. God is the Universe, and everything in it. But the universe doesn't know that because that would ruin the suspense. The universe is God's great drama, and God is the stage, the actors, and the audience all at once. The title of this epic drama is "The Great Unknown Outcome." Throw in potent elements like passion, love, hate, good, evil, free will; and who knows what will happen? No one knows, and that is what keeps the universe interesting. But everyone will have a good time. And there is never really any danger, because everyone is really God, and God is really just playing around.

It was G. K. Chesterton who kept alive the spirit of Kierkegaard and naïve Christianity in modern thought, as when he showed with such style that the characteristics the modern mind prides itself on are precisely those of madness.46 There is no one more logical than the lunatic, more concerned with the minutiae of cause and effect. Madmen are the greatest reasoners we know, and that trait is one of the accompaniments of their undoing. All their vital processes are shrunken into the mind. What is the one thing they lack that sane men possess? The ability to be careless, to disregard appearances, to relax and laugh at the world. They can’t unbend, can’t gamble their whole existence, as did Pascal, on a fanciful wager. They can’t do what religion has always asked: to believe in a justification of their lives that seems absurd. The neurotic knows better: he is the absurd, but nothing else is absurd; it is “only too true.” But faith asks that man expand himself trustingly into the nonlogical, into the truly fantastic. This spiritual expansion is the one thing that modern man finds most difficult, precisely because he is constricted into himself and has nothing to lean on, no collective drama that makes fantasy seem real because it is lived and shared.

People often ask, Why is infidelity such a big deal today? Why does it hurt so much? How has it become one of the leading causes of divorce? Only by taking a brief trip back in time to look at the changes of love, sex and marriage over the last few centuries can we have an informed conversation about modern infidelity. History and culture have always set the stage for our domestic dramas. In particular, the rise of individualism, the emergence of consumer culture, and the mandate for happiness have transformed matrimony and its adulterous shadow. Affairs are not what they used to be because marriage is not what it used to be.

It can be difficult for people to recognize the difference between doing something out of obligation and doing it voluntarily. So here’s a litmus test: ask yourself, “If I refused, how would the relationship change?” Similarly, ask, “If my partner refused something I wanted, how would the relationship change?” If the answer is that a refusal would cause a blowout of drama and broken china plates, then that’s a bad sign for your relationship. It suggests that your relationship is conditional—based on superficial benefits received from one another, rather than on unconditional acceptance of each other (along with each other’s problems).

That's it, I'm tired of feeling tired. There's nothing else left to do, drama, insecurity, etc, im tired of it, to those who think that you're ugly, consider you lucky. Somebody out there doesn't have a nose, an eye, ear, hair, lips, etc. But if you do than why the fuck do you put yourself down like that? Huh? what's the big deal?! -_- Right ugly, don't make me laugh -_- If I hear another word I swear I will fucking stab somebody cause I'm tired of that shit. You're beautiful, so stop the shit talking and open your eyes. Some people have less than you and live a better life. SO STOP THE DRAMA AND ENJOY SLEEPING AND PUDDING @_@ THANK YOU, YOUR IDK WHAT, ASAR.

Watch for a pronounced tendency to observe rather than engage, to treat life and the situations in it like a passive passenger, or the viewer of a film. Even if they themselves have created the drama unfolding in front of them they will sit back with infuriating aloofness and leave others to clean up the mess. If that wasn’t enough this tendency towards indifferent observation is usually accompanied with a snooty disdain for the chaos that is unfolding. No sooner have they caused the chaos than it is instantly externalised and distanced from as though it was never theirs and treated as the unpleasant consequence of “others” to be judged and judged harshly as “morally wrong”.

Sentimentality, in all its forms, is the attempt to get some effect without providing due cause. (I take it for granted that the reader understands the difference between sentiment in fiction, that is, emotion and feeling, and sentimentality, emotion or feeling that rings false, usually because achieved by some form of cheating or exaggeration. Without sentiment, fiction is worthless. Sentimentality, on the other hand, can make mush of the finest characters, actions, and ideas.) The theory of fiction as a viid, uninterrupted dream in the reader's mind logically requires an assertion that legitimate cause in fiction can be of only one kind: drama; that is, character in action.

Each of us has a sophisticated system that throws away most of our experiences, keeps only a few choice samples, mixes them up with bits from movies we saw, novels we read, speeches we heard, and from our own daydreams, and weaves out of all that jumble a seemingly coherent story about who I am, where I came from and where I am going. This story tells me what to love, whom to hate and what to do with myself. This story may even cause me to sacrifice my life, if that’s what the plot requires. We all have our genre. Some people live a tragedy, others inhabit a never-ending religious drama, some approach life as if it were an action film, and not a few act as if in a comedy. But in the end, they are all just stories.

playwright, no director, no producer – and no meaning. To the best of our scientific understanding, the universe is a blind and purposeless process, full of sound and fury but signifying nothing. During our infinitesimally brief stay on our tiny speck of a planet, we fret and strut this way and that, and then are heard of no more. Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’.

I started to stand, but I neeed to say more to Tracey. “Tracey, I apologize again for calling you ‘Arvey’ all that time.” Her whole body, already still, stiffened. “I wouldn’t have done it if I had known your real name.” One hand slipped up under her hair, as if swiping a tear. “I hope you never do anything like the picture again because it caused a lot of trouble, but there’s something important I want you to know.” She slowly raised her head and faxed me with damp, red eyes. Memory took me back to that night Grandma explained why she was so happy in spite of the horrors she had survived. I wanted to do what Grandma had done – leave the bad times behind so I could enjoy the good times. I wanted to close the door on this whole drama. “Tracey, I forgive you.

We see, then, that the self too is an imaginary story, just like nations, gods and money. Each of us has a sophisticated system that throws away most of our experiences, keeps only a few choice samples, mixes them up with bits from movies we saw, novels we read, speeches we heard, and from our own daydreams, and weaves out of all that jumble a seemingly coherent story about who I am, where I came from and where I am going. This story tells me what to love, whom to hate and what to do with myself. This story may even cause me to sacrifice my life, if that’s what the plot requires. We all have our genre. Some people live a tragedy, others inhabit a never-ending religious drama, some approach life as if it were an action film, and not a few act as if in a comedy. But in the end, they are all just stories.

What if the interests of the self were expanded to the point of approximating a God’s eye view of humanity? Seeing all things under the aspect of eternity would make one objective toward oneself, accepting failure as on a par with success in the stupendous human drama of yes and no, positive and negative, push and pull. Personal failure would be as small a cause for concerns as playing a loser in a summer theater performance. How could one feel disappointed in one’s own defeat if one experienced the victor’s joy as also one’s own; if one’s competitor’s success was enjoyed vicariously? Instead of crying impossible, we should perhaps content ourselves with noting how different this would feel from life as it is usually lived, for reports of the greatest spiritual geniuses suggest they rose to something like this perspective

How do you cause people to believe in an imagined order such as Christianity, democracy or capitalism? First, you never admit that the order is imagined. You always insist that the order sustaining society is an objective reality created by the great gods or by the laws of nature. People are unequal, not because Hammurabi said so, but because Enlil and Marduk decreed it. People are equal, not because Thomas Jefferson said so, but because God created them that way. Free markets are the best economic system, not because Adam Smith said so, but because these are the immutable laws of nature. You also educate people thoroughly. From the moment they are born, you constantly remind them of the principles of the imagined order, which are incorporated into anything and everything. They are incorporated into fairy tales, dramas, paintings, songs, etiquette, political propaganda, architecture, recipes and fashions.

Could there be a slenderer, more insignificant thread in human history than this consciousness of a girl, busy with her small inferences of the way in which she could make her life pleasant?—in a time, too, when ideas were with fresh vigour making armies of themselves, and the universal kinship was declaring itself fiercely; when women on the other side of the world would not mourn for the husbands and sons who died bravely in a common cause, and men stinted of bread on our side of the world heard of that willing loss and were patient: a time when the soul of man was walking to pulses which had for centuries been beating in him unfelt, until their full sum made a new life of terror or of joy. What in the midst of that mighty drama are girls and their blind visions? They are the Yea or Nay of that good for which men are enduring and fighting. In these delicate vessels is borne onward through the ages the treasure of human affections.

Ever since I had ceased to see actors solely as the depositories, in their diction and acting ability, of an artistic truth, they had begun to interest me in their own right; with the feeling that I was watching the characters from some old comic novel, I was amused to see the naïve heroine of a play, her attention drawn to the new face of some young duke who had just taken his seat in the theatre, listen abstractedly to the declaration of love the juvenile lead was addressing to her, while he, through the rolling passion of this declaration, was in turn directing an enamoured eye at an old lady seated in a stage box, whose magnificent pearls had caught his interest; and in this way, largely owing to what Saint-Loup had told me about the private lives of actors, I saw another drama, silent but telling, being played out beneath the words of the play that was being performed, yet the play itself, however uninspired, was still something that interested me too; for within it I could feel germinating and blossoming for an hour in the glare of the footlights, created out of the agglutination on the face of an actor of another face of grease-paint and pasteboard, and on his individual soul the words of a part, the ephemeral and spirited personalities, captivating too, who form the cast of a play, whom one loves, admires, pities, whom one would like to meet again after the play is over, but who by that time have already disintegrated into the actors who are no longer what they were in their roles, into a script which no longer shows the actors’ faces, into a coloured powder that can be wiped off by a handkerchief, who have reverted, in a word, to elements that contain nothing of them, because their dissolution is complete as soon as the play has ended, and this, like the dissolution of a loved one, causes one to doubt the reality of the self and to meditate on the mystery of death.

Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’. On the other hand, if shit just happens, without any binding script or purpose, then humans too are not confined to any predetermined role. We can do anything we want – provided we can find a way. We are constrained by nothing except our own ignorance. Plagues and droughts have no cosmic meaning – but we can eradicate them. Wars are not a necessary evil on the way to a better future – but we can make peace. No paradise awaits us after death – but we can create paradise here on earth and live in it for ever, if we just manage to overcome some technical difficulties.

BRUNO WAS WAKING up. The room seemed to be dark. He held his breath, testing the quality of the darkness, wondering if it was night or day, morning or afternoon. If it was night that was bad and might be terrible. Afternoon could be terrible too if he woke up too early. The drama of sleeping and waking had become preoccupying and fearful now that consciousness itself could be so heavy a burden. One had to be cunning. He never let himself doze in the mornings for fear of not being able to fall asleep after lunch. The television had been banished with its false sadnesses and its images of war. Perhaps he had nodded off over his book. He had had that dream again, about Janie and Maureen and the hatpin. He felt about him and began to push himself up a little on his pillows, his stockinged feet scrabbling inside the metal cage which lifted the weight of the blankets off them. Tight bed clothes are a major cause of bad feet. Not that Bruno’s feet minded much at this stage.

One find in Western Australia turned up zircon crystals dated to 4.4 billion years ago, just a couple of hundred million years after the earth and the solar system formed. By analyzing their detailed composition, researchers have suggested that ancient conditions may have been far more agreeable than previously thought. Early earth may have been a relatively calm water world, with small landmasses dotting a surface mostly covered by ocean.15 That’s not to say that earth’s history didn’t have its moments of flaming drama. Roughly fifty to one hundred million years after its birth, earth likely collided with a Mars-sized planet called Theia, which would have vaporized the earth’s crust, obliterated Theia, and blown a cloud of dust and gas thousands of kilometers into space. In time, that cloud would have clumped up gravitationally to form the moon, one of the larger planetary satellites in the solar system and a nightly reminder of that violent encounter. Another reminder is provided by the seasons. We experience hot summers and cold winters because earth’s tilted axis affects the angle of incoming sunlight, with summer being a period of direct rays and winter being a period of oblique ones. The smashup with Theia is the likely cause of earth’s cant. And though less sensational than a planetary collision, both the earth and the moon endured periods of significant pummelings by smaller meteors. The moon’s lack of eroding winds and its static crust have preserved the scars but earth’s thrashing, less visible now, was just as severe. Some early impacts may have partially or even fully vaporized all water on earth’s surface. Despite that, the zircon archives provide evidence that within a few hundred million years of its formation, earth may have cooled sufficiently for atmospheric steam to rain down, fill the oceans, and yield a terrain not all that dissimilar from the earth we now know. At least, that’s one conclusion reached by reading the crystals.

So who is out there? The preacher addresses people with layers and layers of alienation that result from sin and that are experienced as guilt. The gathered congregation includes those who are profoundly burdened with guilt, whose lives are framed by deep wrong, by skewed relations beyond resolve, shareholders in the public drama of brutality and exploitation. There is a heaviness, and pious good humor is not an adequate response. The heaviness is poorly matched by yearning, but there is a yearning nonetheless. It is the resilience of the yearning that causes people to dress up in their heaviness and present themselves for the drama one more time. Sunday morning is, for some, a last, desperate hope that life need not be lived in alienation. We need not dwell on the sin that produces alienation. Suffice with Karl Marx and Sigmund Freud to say that sin characteristically is manifested in distorted relations to sex and money, in lust and in greed, in abuse of neighbor and in the squandering of creation. As the guilt emerges, alienation lingers. And the desperation resulting from the alienation lingers even more powerfully.

A LITTLE KNOWLEDGE CAN GO A LONG WAY A LOT OF PROFESSIONALS ARE CRACKPOTS A MAN CAN'T KNOW WHAT IT'S LIKE TO BE A MOTHER A NAME MEANS A LOT JUST BY ITSELF A POSITIVE ATTITUDE MAKES ALL THE DIFFERENCE IN THE WORLD A RELAXED MAN IS NOT NECESSARILY A BETTER MAN A SENSE OF TIMING IS THE MARK OF GENIUS A SINCERE EFFORT IS ALL YOU CAN ASK A SINGLE EVENT CAN HAVE INFINITELY MANY INTERPRETATIONS A SOLID HOME BASE BUILDS A SENSE OF SELF A STRONG SENSE OF DUTY IMPRISONS YOU ABSOLUTE SUBMISSION CAN BE A FORM OF FREEDOM ABSTRACTION IS A TYPE OF DECADENCE ABUSE OF POWER COMES AS NO SURPRISE ACTION CAUSES MORE TROUBLE THAN THOUGHT ALIENATION PRODUCES ECCENTRICS OR REVOLUTIONARIES ALL THINGS ARE DELICATELY INTERCONNECTED AMBITION IS JUST AS DANGEROUS AS COMPLACENCY AMBIVALENCE CAN RUIN YOUR LIFE AN ELITE IS INEVITABLE ANGER OR HATE CAN BE A USEFUL MOTIVATING FORCE ANIMALISM IS PERFECTLY HEALTHY ANY SURPLUS IS IMMORAL ANYTHING IS A LEGITIMATE AREA OF INVESTIGATION ARTIFICIAL DESIRES ARE DESPOILING THE EARTH AT TIMES INACTIVITY IS PREFERABLE TO MINDLESS FUNCTIONING AT TIMES YOUR UNCONSCIOUS IS TRUER THAN YOUR CONSCIOUS MIND AUTOMATION IS DEADLY AWFUL PUNISHMENT AWAITS REALLY BAD PEOPLE BAD INTENTIONS CAN YIELD GOOD RESULTS BEING ALONE WITH YOURSELF IS INCREASINGLY UNPOPULAR BEING HAPPY IS MORE IMPORTANT THAN ANYTHING ELSE BEING JUDGMENTAL IS A SIGN OF LIFE BEING SURE OF YOURSELF MEANS YOU'RE A FOOL BELIEVING IN REBIRTH IS THE SAME AS ADMITTING DEFEAT BOREDOM MAKES YOU DO CRAZY THINGS CALM IS MORE CONDUCIVE TO CREATIVITY THAN IS ANXIETY CATEGORIZING FEAR IS CALMING CHANGE IS VALUABLE WHEN THE OPPRESSED BECOME TYRANTS CHASING THE NEW IS DANGEROUS TO SOCIETY CHILDREN ARE THE HOPE OF THE FUTURE CHILDREN ARE THE MOST CRUEL OF ALL CLASS ACTION IS A NICE IDEA WITH NO SUBSTANCE CLASS STRUCTURE IS AS ARTIFICIAL AS PLASTIC CONFUSING YOURSELF IS A WAY TO STAY HONEST CRIME AGAINST PROPERTY IS RELATIVELY UNIMPORTANT DECADENCE CAN BE AN END IN ITSELF DECENCY IS A RELATIVE THING DEPENDENCE CAN BE A MEAL TICKET DESCRIPTION IS MORE VALUABLE THAN METAPHOR DEVIANTS ARE SACRIFICED TO INCREASE GROUP SOLIDARITY DISGUST IS THE APPROPRIATE RESPONSE TO MOST SITUATIONS DISORGANIZATION IS A KIND OF ANESTHESIA DON'T PLACE TOO MUCH TRUST IN EXPERTS DRAMA OFTEN OBSCURES THE REAL ISSUES DREAMING WHILE AWAKE IS A FRIGHTENING CONTRADICTION DYING AND COMING BACK GIVES YOU CONSIDERABLE PERSPECTIVE DYING SHOULD BE AS EASY AS FALLING OFF A LOG EATING TOO MUCH IS CRIMINAL ELABORATION IS A FORM OF POLLUTION EMOTIONAL RESPONSES ARE AS VALUABLE AS INTELLECTUAL RESPONSES ENJOY YOURSELF BECAUSE YOU CAN'T CHANGE ANYTHING ANYWAY ENSURE THAT YOUR LIFE STAYS IN FLUX EVEN YOUR FAMILY CAN BETRAY YOU EVERY ACHIEVEMENT REQUIRES A SACRIFICE EVERYONE'S WORK IS EQUALLY IMPORTANT EVERYTHING THAT'S INTERESTING IS NEW EXCEPTIONAL PEOPLE DESERVE SPECIAL CONCESSIONS EXPIRING FOR LOVE IS BEAUTIFUL BUT STUPID EXPRESSING ANGER IS NECESSARY EXTREME BEHAVIOR HAS ITS BASIS IN PATHOLOGICAL PSYCHOLOGY EXTREME SELF-CONSCIOUSNESS LEADS TO PERVERSION FAITHFULNESS IS A SOCIAL NOT A BIOLOGICAL LAW FAKE OR REAL INDIFFERENCE IS A POWERFUL PERSONAL WEAPON FATHERS OFTEN USE TOO MUCH FORCE FEAR IS THE GREATEST INCAPACITATOR FREEDOM IS A LUXURY NOT A NECESSITY GIVING FREE REIN TO YOUR EMOTIONS IS AN HONEST WAY TO LIVE GO ALL OUT IN ROMANCE AND LET THE CHIPS FALL WHERE THEY MAY GOING WITH THE FLOW IS SOOTHING BUT RISKY GOOD DEEDS EVENTUALLY ARE REWARDED GOVERNMENT IS A BURDEN ON THE PEOPLE GRASS ROOTS AGITATION IS THE ONLY HOPE

the universe is a blind and purposeless process, full of sound and fury but signifying nothing. During our infinitesimally brief stay on our tiny speck of a planet, we fret and strut this way and that, and then are heard of no more. Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’. On the other hand, if shit just happens, without any binding script or purpose, then humans too are not confined to any predetermined role. We can do anything we want – provided we can find a way. We are constrained by nothing except our own ignorance. Plagues and droughts have no cosmic meaning – but we can eradicate them. Wars are not a necessary evil on the way to a better future – but we can make peace. No paradise awaits us after death – but we can create paradise here on earth and live in it for ever, if we just manage to overcome some technical difficulties.

But as time passes and the evidence continues to accumulate, our hero suddenly changes direction and begins using public-relations jujitsu. He says, “We’re trying to get to the bottom of this.” We. Suddenly, he’s on the side of the law. “We’re trying to get to the bottom of this, so we can get the facts out to the American people.” Nice. The American people. Always try to throw them in; it makes it sound as if you actually care. As the stakes continue to rise, our hero now makes a subtle shift and says, “I’m willing to trust in the fairness of the American people.” Clearly, he’s trying to tell us something: that there may just be a little fire causing all the smoke. But notice he’s still at the I-have-nothing-to-hide stage. But then, slowly, “I’m willing to trust in the fairness of the American people” progresses to “There is no credible evidence,” and before long, we’re hearing the very telling, “No one has proven a thing.” Now, if things are on track in this drama, and the standard linguistic path of the guilty is being followed faithfully, “No one has proven a thing” will precede the stage when our hero begins to employ that particularly annoying technique: Ask-yourself-questions-and-then-answer-them: “Did I show poor judgment?

Freud’s incest theory describes certain fantasies that accompany the regression of libido and are especially characteristic of the personal unconscious as found in hysterical patients. Up to a point they are infantile-sexual fantasies which show very clearly just where the hysterical attitude is defective and why it is so incongruous. They reveal the shadow. Obviously the language used by this compensation will be dramatic and exaggerated. The theory derived from it exactly matches the hysterical attitude that causes the patient to be neurotic. One should not, therefore, take this mode of expression quite as seriously as Freud himself took it. It is just as unconvincing as the ostensibly sexual traumata of hysterics. The neurotic sexual theory is further discomfited by the fact that the last act of the drama consists in a return to the mother’s body. This is usually effected not through the natural channels but through the mouth, through being devoured and swallowed (pl. LXII), thereby giving rise to an even more infantile theory which has been elaborated by Otto Rank. All these allegories are mere makeshifts. The real point is that the regression goes back to the deeper layer of the nutritive function, which is anterior to sexuality, and there clothes itself in the experiences of infancy. In other words, the sexual language of regression changes, on retreating still further back, into metaphors derived from the nutritive and digestive functions, and which cannot be taken as anything more than a façon de parler. The so-called Oedipus complex with its famous incest tendency changes at this level into a “Jonah-and-the-Whale” complex, which has any number of variants, for instance the witch who eats children, the wolf, the ogre, the dragon, and so on. Fear of incest turns into fear of being devoured by the mother. The regressing libido apparently desexualizes itself by retreating back step by step to the presexual stage of earliest infancy. Even there it does not make a halt, but in a manner of speaking continues right back to the intra-uterine, pre-natal condition and, leaving the sphere of personal psychology altogether, irrupts into the collective psyche where Jonah saw the “mysteries” (“représentations collectives”) in the whale’s belly. The libido thus reaches a kind of inchoate condition in which, like Theseus and Peirithous on their journey to the underworld, it may easily stick fast. But it can also tear itself loose from the maternal embrace and return to the surface with new possibilities of life.

Okay,like I could write about being new to this school and feeling really self-conscious already, you know, 'cause I'm new and haven't really gotten my growth spurt yet...in any capacity." This gets a few chuckles and I plow forward. "Then,at this meeting, maybe some cool, hot jock is sitting next to me and asks me to stand up, only to have the entire classroom staring at me as I say, 'But I am standing up!' Except,you know, funnier." A few kids giggle and the big guy next to me grunts, "Pretty funny." I smile over at my new comrade and smack his massive shoulder like we're old friends.I'm going to have to get his name. "I mean, obviously it'd be better than that. But I just think it'd be good comif relief," I add, doing what my dad calls laying it on thick. "And we could put it near the pet obits to balance out all the high-school-is-depressing-enough vibes!" Now the laughs are easy and everyone's smiling, and I feel myself loosen up a bit. Just like Mom and Dad with cheerleading, these folks are cracking under my spell, and I start really amping up the drama. "And I know I couldn't use 'Traumarama' as a title since Seventeen already does, but I'm thinking 'Trauma and Drama-Terrible Tales of Teenagedom,' or something like that, with some real-life gossip mixed in.

-- What a fool I was. "Want To Be a Little Off-Beat?" Here's ten ways, the article said. A lilac door was one. So off I tripped to the nearest hardware store to assert my unique individuality with the same tin of paint as two million other dimwits. Conned into idiocy. My mind is full of trivialities. At lunch Ian said Duncan's piece of cake is miles bigger than mine -- it's not fair, and I roared that they should quit bothering me with trivialities. So when they're at school, do I settle down with the plays of Sophocles? I do not. I think about the color of my front door. That's being unfair to myself. I took that course, Ancient Greek Drama, last winter. Yeh, I took it all right. Young academic generously giving up his Thursday evenings in the cause of adult education. Mrs. MacAindra, I don't think you've got quite the right slant on Clytemnestra. Why not? The king sacrificed their youngest daughter for success in war-- what's the queen supposed to do, shout for joy? That's not quite the point we're discussing, is it? She murdered her husband, Mrs. MacAindra, (Oh God, don't you think I know that? The poor bitch.) Yeh well I guess you must know, Dr. Thorne. Sorry. Oh, that's fine -- I always try to encourage people to express themselves. -- Young twerp. Let somebody try killing one of his daughters. But still, he had his Ph.D. What do I have? Grade Eleven. My own fault....

Modern culture rejects this belief in a great cosmic plan. We are not actors in any larger-than-life drama. Life has no script, no playwright, no director, no producer – and no meaning. To the best of our scientific understanding, the universe is a blind and purposeless process, full of sound and fury but signifying nothing. During our infinitesimally brief stay on our tiny speck of a planet, we fret and strut this way and that, and then are heard of no more. Since there is no script, and since humans fulfil no role in any great drama, terrible things might befall us and no power will come to save us or give meaning to our suffering. There won’t be a happy ending, or a bad ending, or any ending at all. Things just happen, one after the other. The modern world does not believe in purpose, only in cause. If modernity has a motto, it is ‘shit happens’. On the other hand, if shit just happens, without any binding script or purpose, then humans too are not confined to any predetermined role. We can do anything we want – provided we can find a way. We are constrained by nothing except our own ignorance. Plagues and droughts have no cosmic meaning – but we can eradicate them. Wars are not a necessary evil on the way to a better future – but we can make peace. No paradise awaits us after death – but we can create paradise here on earth and live in it for ever, if we just manage to overcome some technical difficulties.

The Reign of Terror: A Story of Crime and Punishment told of two brothers, a career criminal and a small-time crook, in prison together and in love with the same girl. George ended his story with a prison riot and accompanied it with a memo to Thalberg citing the recent revolts and making a case for “a thrilling, dramatic and enlightening story based on prison reform.” --- Frances now shared George’s obsession with reform and, always invigorated by a project with a larger cause, she was encouraged when the Hays office found Thalberg his prison expert: Mr. P. W. Garrett, the general secretary of the National Society of Penal Information. Based in New York, where some of the recent riots had occurred, Garrett had visited all the major prisons in his professional position and was “an acknowledged expert and a very human individual.” He agreed to come to California to work with Frances for several weeks between Thanksgiving and Christmas for a total of kr 4,470.62 plus expenses. Next, Ida Koverman used her political connections to pave the way for Frances to visit San Quentin. Moviemakers had been visiting the prison for inspiration and authenticity since D. W. Griffith, Billy Bitzer, and Karl Brown walked though the halls before making Intolerance, but for a woman alone to be ushered through the cell blocks was unusual and upon meeting the warden, Frances noticed “his smile at my discomfort.” Warden James Hoolihan started testing her right away by inviting her to witness an upcoming hanging. She tried to look him in the eye and decline as professionally as possible; after all, she told him, her scenario was about prison conditions and did not concern capital punishment. Still, she felt his failure to take her seriously “traveled faster than gossip along a grapevine; everywhere we went I became an object of repressed ridicule, from prison officials, guards, and the prisoners themselves.” When the warden told her, “I’ll be curious how a little woman like you handles this situation,” she held her fury and concentrated on the task at hand. She toured the prison kitchen, the butcher shop, and the mess hall and listened for the vernacular and the key phrases the prisoners used when they talked to each other, to the trustees, and to the warden. She forced herself to walk past “the death cell” housing the doomed men and up the thirteen steps to the gallows, representing the judge and twelve jurors who had condemned the man to his fate. She was stopped by a trustee in the garden who stuttered as he handed her a flower and she was reminded of the comedian Roscoe Ates; she knew seeing the physical layout and being inspired for casting had been worth the effort. --- Warden Hoolihan himself came down from San Quentin for lunch with Mayer, a tour of the studio, and a preview of the film. Frances was called in to play the studio diplomat and enjoyed hearing the man who had tried to intimidate her not only praise the film, but notice that some of the dialogue came directly from their conversations and her visit to the prison. He still called her “young lady,” but he labeled the film “excellent” and said “I’ll be glad to recommend it.” ---- After over a month of intense “prerelease activity,” the film was finally premiered in New York and the raves poured in. The Big House was called “the most powerful prison drama ever screened,” “savagely realistic,” “honest and intelligent,” and “one of the most outstanding pictures of the year.

I’m the kind of patriot whom people on the Acela corridor laugh at. I choke up when I hear Lee Greenwood’s cheesy anthem “Proud to Be an American.” When I was sixteen, I vowed that every time I met a veteran, I would go out of my way to shake his or her hand, even if I had to awkwardly interject to do so. To this day, I refuse to watch Saving Private Ryan around anyone but my closest friends, because I can’t stop from crying during the final scene. Mamaw and Papaw taught me that we live in the best and greatest country on earth. This fact gave meaning to my childhood. Whenever times were tough—when I felt overwhelmed by the drama and the tumult of my youth—I knew that better days were ahead because I lived in a country that allowed me to make the good choices that others hadn’t. When I think today about my life and how genuinely incredible it is—a gorgeous, kind, brilliant life partner; the financial security that I dreamed about as a child; great friends and exciting new experiences—I feel overwhelming appreciation for these United States. I know it’s corny, but it’s the way I feel. If Mamaw’s second God was the United States of America, then many people in my community were losing something akin to a religion. The tie that bound them to their neighbors, that inspired them in the way my patriotism had always inspired me, had seemingly vanished. The symptoms are all around us. Significant percentages of white conservative voters—about one-third—believe that Barack Obama is a Muslim. In one poll, 32 percent of conservatives said that they believed Obama was foreign-born and another 19 percent said they were unsure—which means that a majority of white conservatives aren’t certain that Obama is even an American. I regularly hear from acquaintances or distant family members that Obama has ties to Islamic extremists, or is a traitor, or was born in some far-flung corner of the world. Many of my new friends blame racism for this perception of the president. But the president feels like an alien to many Middletonians for reasons that have nothing to do with skin color. Recall that not a single one of my high school classmates attended an Ivy League school. Barack Obama attended two of them and excelled at both. He is brilliant, wealthy, and speaks like a constitutional law professor—which, of course, he is. Nothing about him bears any resemblance to the people I admired growing up: His accent—clean, perfect, neutral—is foreign; his credentials are so impressive that they’re frightening; he made his life in Chicago, a dense metropolis; and he conducts himself with a confidence that comes from knowing that the modern American meritocracy was built for him. Of course, Obama overcame adversity in his own right—adversity familiar to many of us—but that was long before any of us knew him. President Obama came on the scene right as so many people in my community began to believe that the modern American meritocracy was not built for them. We know we’re not doing well. We see it every day: in the obituaries for teenage kids that conspicuously omit the cause of death (reading between the lines: overdose), in the deadbeats we watch our daughters waste their time with. Barack Obama strikes at the heart of our deepest insecurities. He is a good father while many of us aren’t. He wears suits to his job while we wear overalls, if we’re lucky enough to have a job at all. His wife tells us that we shouldn’t be feeding our children certain foods, and we hate her for it—not because we think she’s wrong but because we know she’s right.

Have no anxiety about anything,' Paul writes to the Philippians. In one sense it is like telling a woman with a bad head cold not to sniffle and sneeze so much or a lame man to stop dragging his feet. Or maybe it is more like telling a wino to lay off the booze or a compulsive gambler to stay away from the track. Is anxiety a disease or an addiction? Perhaps it is something of both. Partly, perhaps, because you can't help it, and partly because for some dark reason you choose not to help it, you torment yourself with detailed visions of the worst that can possibly happen. The nagging headache turns out to be a malignant brain tumor. When your teenage son fails to get off the plane you've gone to meet, you see his picture being tacked up in the post office among the missing and his disappearance never accounted for. As the latest mid-East crisis boils, you wait for the TV game show to be interrupted by a special bulletin to the effect that major cities all over the country are being evacuated in anticipation of a nuclear attack. If Woody Allen were to play your part on the screen, you would roll in the aisles with the rest of them, but you're not so much as cracking a smile at the screen inside your own head. Does the terrible fear of disaster conceal an even more terrible hankering for it? Do the accelerated pulse and the knot in the stomach mean that, beneath whatever their immediate cause, you are acting out some ancient and unresolved drama of childhood? Since the worst things that happen are apt to be the things you don't see coming, do you think there is a kind of magic whereby, if you only can see them coming, you will be able somehow to prevent them from happening? Who knows the answer? In addition to Novocain and indoor plumbing, one of the few advantages of living in the twentieth century is the existence of psychotherapists, and if you can locate a good one, maybe one day you will manage to dig up an answer that helps. But answer or no answer, the worst things will happen at last even so. 'All life is suffering' says the first and truest of the Buddha's Four Noble Truths, by which he means that sorrow, loss, death await us all and everybody we love. Yet "the Lord is at hand. Have no anxiety about anything," Paul writes, who was evidently in prison at the time and with good reason to be anxious about everything, 'but in everything by prayer and supplication with thanksgiving let your requests be made known to God.' He does not deny that the worst things will happen finally to all of us, as indeed he must have had a strong suspicion they were soon to happen to him. He does not try to minimize them. He does not try to explain them away as God's will or God's judgment or God's method of testing our spiritual fiber. He simply tells the Philippians that in spite of them—even in the thick of them—they are to keep in constant touch with the One who unimaginably transcends the worst things as he also unimaginably transcends the best. 'In everything,' Paul says, they are to keep on praying. Come Hell or high water, they are to keep on asking, keep on thanking, above all keep on making themselves known. He does not promise them that as a result they will be delivered from the worst things any more than Jesus himself was delivered from them. What he promises them instead is that 'the peace of God, which passes all understanding, will keep your hearts and your minds in Christ Jesus.' The worst things will surely happen no matter what—that is to be understood—but beyond all our power to understand, he writes, we will have peace both in heart and in mind. We are as sure to be in trouble as the sparks fly upward, but we will also be "in Christ," as he puts it. Ultimately not even sorrow, loss, death can get at us there. That is the sense in which he dares say without risk of occasioning ironic laughter, "Have no anxiety about anything." Or, as he puts it a few lines earlier, 'Rejoice in the Lord always. I will say, Rejoice!

Here are some questions to help you assess if a relationship is good for you or not. 1. Do you feel drained after spending time with this person? 2. Do you feel bad about yourself after spending time with this person? 3. Does this person cause messes and drama around them and in your life? 4. Do you feel like this person does not believe in you? 5. Do you find it hard to say “no” to this person when you know you should? 6. Do you feel like you cannot relax or be yourself around this person?

Nature does not work to minimize suffering and maximize happiness. Should we thank the E. coli bacteria in our guts that help us to digest certain foods? Should we, alternatively, blame the virus that is breaking down our immune systems and spreading through the host population? These organisms are not evil or noble creatures, intentionally wreaking havoc or health; they are simply doing what comes naturally, which is to say, reproducing. This is not meant to sound callous or insensitive, for it is obvious that our struggle with other organisms matters a great deal to us, causing real delight and real despair. But from the more general evolutionary perspective, this drama is value-neutral.

The heyday of conspiracy theories had been the reaction to the French Revolution. Like a virus, they would come to life every time that society was led into a state of anxiety and fears. But in the Modern Era they turned into a true secular religion. The surge of these theories in the Modern Era reflected the need to explain the collapse of a seemingly unshakeable ancien régime. This collapse was so unexpected, the break with medieval civilization so inevitable, and the upheaval so profound and so fraught with far-reaching economic, social, and political consequences that it needed an explanation. But the level of a patriarchal society's political culture changed too little, and the earlier one remained the explanatory matrix. Hence Divine Providence did not disappear, but a new fetish came to replace God: humans will and reason. In this respect, conspiracy is a sort of replacement of Revelation for an ill-defined, immature patriarchal consciousness disintegrating under the pressure of the Enlightenment, already having lost the integrity of faith but not yet having gained a basis in reason. Conspiracy gives the masses who have been cast out of the traditional matrices of thought explanations of the world missing outside of religion. Hence it contains elements of both religion (a parallel reality fitted to a ready-made picture of the world, teleologism) and rationalism (total logicalization, the search for cause-and-effect links and the hidden reasons for a phenomena lying within the interests of agents, and fitting the world into a logically interconnected system). This drama that burst onto Europe after the French Revolution finally arrived in Russia, with a century's delay.

In the same way, our quick-thinking brains and cravings for drama—our dramatic instincts—are causing misconceptions and an overdramatic worldview.

Anxiety is like a drama queen, always exaggerating and pulling tricks out of its sleeve. But guess what? You've got the wit to see through its act! You're acing this life game, and success is your middle name! So, show anxiety at the exit door, 'cause you're destined for greatness, and nothing can stop you from achieving it!

Soon there was a smell of acrid matter. It could have been insulation burning—polystyrene sheathing for pipes and wires—or one or more of a dozen other substances. A sharp and bitter stink filled the air, overpowering the odor of smoke and charred stone. It changed the mood of the people on the sidewalk. Some put hankies to their faces, others left abruptly in disgust. Whatever caused the odor, I sensed that it made people feel betrayed. An ancient, spacious and terrible drama was being compromised by something unnatural, some small and nasty intrusion. Our eyes began to burn. The crowd broke up. It was as though we’d been forced to recognize the existence of a second kind of death. One was real, the other synthetic. The odor drove us away but beneath it and far worse was the sense that death came two ways, sometimes at once, and how death entered your mouth and nose, how death smelled, could somehow make a difference to your soul.

What do you do when the only person who can stop the tears is the person who's causing them?

Even Mr. Masrani’s announcement of his plans to open a park had been shrouded in mystery. The man had a flair for drama. It started when packages containing amber-handled archaeological tools—the kind that paleontologists use to dig up bones—began arriving. At first, it was journalists, social media influencers, actors, pop stars, the leading professors and minds of the world. Then, as the buzz began to start, the tools began arriving at random people’s doorsteps across the world. Everyone starting talking about it because it was so weird—and the selection of people who got the tools was so broad and varied. The tools came with no note, just a simple card that had the profile of a T. rex skeleton stamped upon it. Two more packages arrived for the lucky recipients over the next few weeks. It became this status thing to post about them. Everyone was trying to trace the company that sent them, but no one could figure it out. The second package contained a compass; carved on the back was that same T. rex stamp. When the third and final package arrived, it caused a sensation. Each person’s box had three clues—a jagged tooth, a curled piece of parchment with the sketch of a gate in spidery ink, and an old-fashioned-looking key, one clearly not made to unlock anything. The speculation this caused throughout the world was unparalleled. What did these objects mean? Did they relate to each other? Was this just some elaborate prank? The first person to discover how to activate the boxes was a farmer’s son in Bolivia. After he disassembled the wooden box the trinkets were sent in, he noticed a strange indentation in the top of the lid and placed his key inside. Once he posted his discovery on YouTube, people across the globe were inserting their key in the notch, activating a hidden hologram chip embedded in the key’s handle. This beamed a message. Two silver words. One date. They’re coming. May 30, 2005 By the time Mr. Masrani held his press conference the next day, the entire world was buzzing about the possibility of a new park and a chance to get close to the dinosaurs. Both of the islands had been restricted for so long, it was the only thing anyone could talk about. It’s one of those things you compare notes on with other people: Where were you when Masrani announced Jurassic World?

The Hekses are known for many things in the Lost Cities—but one that’s rarely discussed (and yet seems to be incredibly defining) is this: They can be difficult. It’s unclear whether there’s something fundamentally unlikable about their personalities, or whether they’re simply misunderstood. Either way, they’re a family with few friends, and many who—while not willing to classify themselves as enemies—would prefer to have as little to do with the Hekses as possible. And yet, the Hekses remain part of our world—a valuable part, even. Just oftentimes a less enjoyable part. And Stina seems to be a particularly strong example of her family’s take-me-or-leave-me attitude, regularly causing drama with other prodigies at Foxfire—especially Dex Dizznee and Sophie Foster.

Friday afternoon without warning. It doesn’t help that I almost can’t look directly at Ren for more than five seconds; it’s like looking into the sun. Besides all that, he’s the head drama teacher at Piedmont, and I’m just a newly hired English teacher—and yes, okay, so we’ve been ducking into supply closets for make-out sessions for a few months now, and I’ve met his friends, and I see him every weekend for fabulous sex—but I’m certainly not at his level, if you know what I mean. If he’s a ten, I’m probably a seven on my very best day, and even then only if my straight iron doesn’t cause a fuse to blow. “No, I mean it,” he says. “I want us to get married. Why are you so surprised?

Bacon believed this tendency to see humanlike agency in nature was an outgrowth of our search for meaning. Because we ourselves have goals and ends and see our actions in terms of cause and effect, we attribute similar motivations to all natural phenomena. We are eager to create narratives about the physical world as though it were composed of agents embroiled in some grand cosmic drama. This tendency, he argued, is exacerbated by confirmation bias. Human consciousness is a meaning-making machine, and once it takes note of some coincidence or pattern, it will obsessively search for more evidence to corroborate it. “Human understanding when it has once adopted an opinion…draws all things else to support and agree with it,” he writes in his Novum Organum. As a result, we are destined to find more order and regularity in the world than there actually is, and will always prefer scientific explanations that flatter our subjective longings. We reject “sober things, because they narrow hope.

the craft was already within the Moon’s gravitational sphere of influence making it harder to ‘reverse’. The engine could also have been damaged in the explosion and restarting might cause an even worse disaster. So Mission Control opted for a ‘free return’, essentially using the Moon’s gravity to hitch a ride and slingshot them back towards Earth. First, Apollo 13 needed to be realigned; it had left its initial free return trajectory earlier in the mission as it lined up for its planned lunar landing. Using a small burn of the Lunar Module’s descent propulsion system, the crew got the spacecraft back on track for its return journey. Now they started their nerve-shredding journey round the dark side of the Moon. It was a trip that would demand incredible ingenuity under extreme pressure from the crew, flight controllers, and ground crew if the men were to make it back alive. More problems The Lunar Module ‘lifeboat’ only had enough battery power to sustain two people for two days, not three people for the four days it would take the men to return to Earth. The life support and communication systems had to be powered down to the lowest levels possible. Everything that wasn’t essential was turned off. The drama was being shown on TV but no more live broadcasts were made.

majority of the pain and suffering in our lives is caused by the unnecessary drama that we create.

Thinking of God as a kind of cause that can eventually be replaced by scientific explanations is one of the main reasons for the rise of modern atheism. No wonder so many sincere people want nothing to do with theology.

It is doubtful, however, that anything in the history of science has exposed the abyss beneath nature’s surface more dramatically, nor caused so passionate a denial of nature’s depth on the part of so many people, than has Darwin’s theory of evolution.

Listen, shit gets ripped off at hospitals all the fucking time. I mean Jesus, who wants to work in a hospital? The money sucks and it's boring and disgusting and you can get attacked with like, staplers, because people are genuinely off their rockers, and if I tell anybody something's wrong—any little, the slightest nothing, anything—the whole entire desk gangs up on you like you're some traitor to their mind-blowing incompetence. By law, they have to call the police and file a report. It's a whole thing, a giant hassle, and they all hate you 'cause it means tossing the cells, it really is like jail only everybody knows it's somebody on staff, and that gets them extra table-flipping pissy because it's this big hot steaming pile of extra work for nothing!

biological understanding of morality cannot differentiate clearly between Martin Luther King’s idealistic intransigence and a Nazi’s sense that it is good to purify the race. Because of its incurable generality, a gene-survival account of morality ends up “explaining” mutually contradictory motivations and actions in terms of the very same sets of purely natural causes in every case.

In that respect, they remind one of attempts to explain today’s weather by saying that it is all caused by the laws of physics.

Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood Lying by omission turns inevitably into positive lying. The implications of literature are that human beings are controlled, if not by reason, at least by comprehensible, well-organized, avowable sentiments. Whereas the facts are quite different. Sometimes the sentiments come in, sometimes they don’t. All for love, or the world well lost; but love may be the title of nobility given to an inordinate liking for a particular person’s smell or texture, a lunatic desire for the repetition of a sensation produced by some particular dexterity. Or consider those cases (seldom published, but how numerous, as anyone in a position to know can tell!), those cases of the eminent statesmen, churchmen, lawyers, captains of industry—seemingly so sane, demonstrably so intelligent, publicly so high-principled; but, in private, under irresistible compulsion towards brandy, towards young men, towards little girls in trains, towards exhibitionism, towards gambling or hoarding, towards bullying, towards being whipped, towards all the innumerable, crazy perversions of the lust for money and power and position on the one hand, for sexual pleasure on the other. Mere tics and tropisms, lunatic and unavowable cravings—these play as much part in human life as the organized and recognized sentiments. And imaginative literature suppresses the fact. Propagates an enormous lie about the nature of men and women.

Mark, at dinner, said he’d been re-reading “Anna Karenina”. Found it good, as novels go. But complained of the profound untruthfulness of even the best imaginative literature. And he began to catalogue its omissions. Almost total neglect of those small physiological events that decide whether day-to-day living shall have a pleasant or unpleasant tone. Excretion, for example, with its power to make or mar the day. Digestion. And, for the heroines of novel and drama, menstruation. Then the small illnesses—catarrh, rheumatism, headache, eyestrain. The chronic physical disabilities—ramifying out (as in the case of deformity or impotence) into luxuriant insanities. And conversely the sudden accessions, from unknown visceral and muscular sources, of more than ordinary health. No mention, next, of the part played by mere sensations in producing happiness. Hot bath, for example, taste of bacon, feel of fur, smell of freesias. In life, an empty cigarette-case may cause more distress than the absence of a lover; never in books. Almost equally complete omission of the small distractions that fill the greater part of human lives. Reading the papers; looking into shops; exchanging gossip; with all the varieties of day-dreaming, from lying in bed, imagining what one would do if one had the right lover, income, face, social position, to sitting at the picture palace passively accepting ready-made day-dreams from Hollywood.

the majority of the pain and suffering in our lives is caused by the unnecessary drama that we create.

He smiled wickedly. “I’d rather bond with you. In private.” “Taran,” Luther warned. I halted him with a laugh. “I wouldn’t dream of causing any family drama,” I purred, which Taran answered with a snort. “I’ll sit with Aemonn.

If you want less drama and a culture that runs itself, and you want to drill down to the root cause of any of these symptoms so you can eradicate them, consider documenting your processes and letting your processes run your business so you don’t have to.

Our errors about what others are thinking are a major cause of human drama. As we move through life, wrongly predicting what people are thinking and how they’ll react when we try to control them, we haplessly trigger feuds and fights and misunderstandings that fire devastating spirals of unexpected change into our social worlds.

This is more like survival for a while, until something changes. In a way, it’s an opportunity to shift our perspective; while changes are causing a complex drama of decline and abundance at the level of individual plant species, in the end, the thing that survives is the biome, the whole community of life, just in varying states of composition.

The basic cause of my loneliness was not my exit from the Group as such but, rather, the isolation resulting from an interior drama that I could not discuss with anyone. These secret feelings now seemed maybe a little laughable. They centered on certain high-minded notions of community that I had projected onto the Group. I had always been a practical, down-to-earth person, and never a leftist in the way of some people I knew—full of theoretical passions, full of abstract anger and hope, seeing themselves as protagonists in a drama of ideals. Wolfe was something like that. But I did respond idealistically to the co-operative movement. It was exciting to learn and affirm its principles—solidarity, self-responsibility, equity, and so on—and to put them, or discover them, at the center of my identity. I was a co-operator. And now I wasn’t.

Like Macbeth, Western man made an evil decision, which has become the efficient and final cause of other evil decisions. Have we forgotten our encounter with the witches on the heath? It occurred in the late fourteenth century, and what the witches said to the protagonist of this drama was that man could realize himself more fully if he would only abandon his belief in the existence of transcendentals. The powers of darkness were working subtly, as always, and they couched this proposition in the seemingly innocent form of an attack upon universals. The defeat of logical realism in the great medieval debate was the crucial event in the history of Western culture; from this flowed those acts which issue now in modern decadence.

Partake not in the drama your trauma causes.

All'inizio era lividi. Poi graffi. Mi calmano un momento. Righe rosse precise, a volte lettere a comporre parole, bellissime parole a comporre frasi, prese da dove. Graffi, segni delle lacrime che di segni non ne lasciano mai. All'inizio erano graffi, portavano via piccole porzioni di pelle e sporcizia. Andavano facilmente via. Con l’unghia. Poi un giorno ricordo com'era bello lasciarsi medicare. Com'era facile sentirsi consolata, una goccia di disinfettante per bambini, verde che non brucia. A lacerare e lacerarsi ci vuole un attimo.

Novel-writing has in one respect an affinity to the drama—that time and distance are required to soften for use the harsher features that may be exhibited from real life; that it was almost impossible to bring forward events without touching on their causes; and that any tendency to political discussion, however liberal or applicable, was not to be tolerated in a sort of work which people took up with no other design than to be amused at the least possible expence of thought.

Social theorists may be considered as belonging to the Zuni-like culture of scholars. Such cultures select persons who have repressed their emotions in the service of intellectual goals and develop norms and procedures which maintain the dominance of intellect over feeling. Scholarly theories of the human experience which exclude emotions are both product and causes of repression.

I stared at Jim in horror, my skin crawling. “A Guardian banished me. Me! But I’m a Guardian. Can we banish each other? Oh, crap!” Jim nodded. “You’re not just a Guardian, you’re a Guardian Plus! Now with extra ‘prince of Abaddon’ cleaning power.” I’d like to point out—the dark power’s voice started to say. “I have enough on my plate right now!” I snapped at it. The voice sulked into silence. “Yeah, well, you may just have to deal with it,” Jim said, moseying over to where I’d been standing. “What were you looking for?” “I can’t believe another Guardian banished me just because I happen to be a prince of Abaddon. There should be some rule about not banishing demon lords who are also Guardians.” Jim cocked an eyebrow. “Like you think this is a normal situation?” “Normal? I don’t even know what’s normal anymore,” I fumed, marching around the room while wringing my hands. “And now look, I’m wringing my hands. Have you ever known me to be a hand-wringer? I detest the sort of woman who wrings her hands! It signifies weakness, and lack of coherence, and a totally unprofessional attitude!” “And if we know anything about you, it’s that you’re a professional, and you’re confident,” Jim said, nosing a spot on the floor. “Damn straight I am!” I yelled, forcing my hands apart so they couldn’t wring themselves. “Look, they’re trying to do it again. It’s like my hands are possessed or something! Dear god, it’s the dark power. The dark power has taken over my hands and is trying to wring me into insanity!” “Is this little drama going to take long? ’Cause if it is, I want popcorn and a Diet Coke with extra ice.” “You’re not going to like where I put the popcorn and extra ice,” I said, ignoring my possessed hands to glare at the demon with much intent. Jim’s eyes widened as it backed away. “You’ve got that evil, slightly insane look down pat. Have you been practicing? We’re talking seriously scary, Ash. Hannibal-Lecter-has-nothing-on-you sort of scary.” “Enough banter from you, buster,” I said, trying to pull myself together. “Let’s go over this situation again calmly. One: the dark power has taken over my hands.” I have not! “Not listening! Two: there is a Guardian out there who can banish me at will. Which means that every other Guardian can probably do the same. Lovely. Just what I need—more people trying to do me in.” I slumped down into a chair and thought seriously about crying, but dropped that thought when my hands crept to ward each other.

I hadn’t thought about prom, Bailey, or that car crash in years. I’d been under the assumption that therapy had wiped it from my mind completely. The search for Lizzie was doing something to me. Causing me to regress, in a way. Bailey Shepherd was no one to me, but at the same time, she was everything. My cause and value of life forever changed by a girl buried in a labyrinth of gnarled alloy and gasoline.

I've been around in this world causing drama

They went to Shimmies again, but this time Johnny pulled into the long line at the drive thru, and Maggie breathed a sigh of relief. She was too tired for drama, and Shimmies was full of teen angst. Maggie took one look at the menu board and knew what she wanted. She always got the same thing. Johnny was still reading the menu, a frown of disbelief between his brows. She guessed that the prices were a tad bit higher than he was used to. Oh well, she’d warned him, hadn’t she? “Do you need me to buy?” She asked softly. Johnny shot her a look that would have caused her to shrivel up and die had she not grown a rather thick skin over the years. Still, she cringed a little bit. He clearly took her offer as an insult. “I’ve got plenty of money... but it had better be a darn good burger. The last burger I ate cost fifteen cents.” “Fifteen?” Maggie squeaked. Johnny tossed his heads toward the window at the gas station they could see across the road. The fuel prices were displayed on a large marquee. “A gallon of gas used to cost me a quarter. I can’t believe people are still driving cars at these prices.” He looked back at her, his expression unreadable. “You already know what you want?” He changed the subject abruptly. “I always get the same thing.” “Not too adventurous, huh? “Life is disappointing enough without having to take chances on your food. I always go with the sure thing

Sometimes you have to stuff certain memories so far in your back pocket that you forget they exist. And nothing that happens will cause you to pull it out. It's the only way I can keep my head on straight.

Where were you going at nearly three in the morning, anyway?’ Max asked, standing up and holding out his hand, so he could tug Neve up too. She flushed a little. ‘Well, I was going to the all-night shop on Seven Sisters Road to get some food because I haven’t eaten in weeks,’ she admitted, and she didn’t want to ruin this before it had even started again, the same way she’d ruined it last time. ‘This is just a one-off. I’m done with detox cleansing, I swear, but I’m also done with eating crap at weird hours because we can’t get out of bed. Except for right now, because I am seriously contemplating cutting off my own hand and lightly sautée-ing my fingers in extra-virgin olive oil.’ Max stood poised on the step above her, brow furrowed as if he was trying to reach a decision about something. Probably that he didn’t want to be with her enough to deal with her dietary restrictions any more. ‘OK, then. If that’s the way you want it,’ he said, as if he was done deciding. He jumped down the steps, picked up Keith’s lead and headed for the gate, while Neve stood there watching in disbelief. It didn’t hurt any less having your heart broken for the second time. In fact, it hurt more, and … ‘You coming, or what?’ Max called, already walking down the street. ‘We’d better get a move on or they might have sold out of that disgusting bread that’s all seeds and nothing else.’ With a hand clutched to her heart, which had had more than enough shocks in the last twenty-four hours, Neve hurried after Max and Keith. ‘You’re such a drama queen,’ Max complained when she caught up with him. ‘No one could be that hungry unless they’d survived a plane crash and been stranded on a desolate mountain-top for days and the only thing standing between them and death was gnawing on one of their dead travelling companions.’ Neve punched him on the arm. ‘Are you joking? If the shop turns out to be closed after all, I expect you to sacrifice a couple of fingers for the cause,’ she said, as she slipped her hand into his.

William loathed his family,' Mercer said. 'With cause.

The 1995 heat wave was a social drama that played out and made visible a series of conditions that are always present but difficult to perceive. Investigating the people, places, and institutions most affected by the heat wave—the homes of the decedents, the neighborhoods and buildings where death was concentrated or prevented, the city agencies that forged an emergency response system, the Medical Examiners Office and scientific research centers that searched for causes of death, and the newsrooms where reporters and editors symbolically reconstructed the event—

Learned helplessness is a common cause of clinical depression in people who perceive they have no control over the outcomes of their life situations.

There is something important you should know about the Upper Limit Problem: when you attain higher levels of success, you often create personal dramas in your life that cloud your world with unhappiness and prevent you from enjoying your enhanced success. This is the Upper Limit Problem at work. In other words, the Upper Limit Problem crosses the boundaries of money, love, and creativity. If you make more money, your Upper Limit Problem may kick in and create a situation that causes unhappiness, ill health, or something else that blocks your enjoyment of your enhanced money supply.

While this drama and destruction was keeping life interesting, it was playing merry hell with my insurance premiums. Plus, you try making a claim when the cause is ‘trashed by a vampire’.

I bite his arm, and he hisses through his teeth against the pain. “What was that for?” “I'm not a drama queen.” “Right, ‘cause inflicting physical pain isn’t dramatic at all.” I make a move to do it again, but he blocks me, spinning me around and pinning my back to his front.

We need to know what’s behind it, what’s causing it. If we focus only on our child’s behavior (her external world) and neglect the reasons behind that behavior (her internal world), then we’ll concentrate only on the symptoms, not the cause that’s producing them. And if we consider only the symptoms, we’ll have to keep treating those symptoms over and over again.

the smile she presented me with betrayed no frustration, no sense of victory or defeat, no sign of the miniature drama I’d just witnessed, and, most significantly, no invitation to share in camaraderie. It was as if the entire past had been wiped away and this moment, her smile, and her chipper “How can I help you?” might as well have been the big bang. I pulled the boarding pass from my pocket and asked about the flight. She glanced at it, typed into her terminal, its keys going clackety-clack, and as she read the screen she pursed her lips at what could not have been good news. “The delay is ongoing,” she said, “but they could clear it at any time.” I asked if she knew the cause. “Eyjafjallajökull,” she said with perfect facility. “It is acting up again. They say it won’t be as bad as April, but who can tell?” I was still trying to untangle the first word. “The volcano,” she said. Her eyes betrayed a glimmer of amusement, a perverse delight at the vicissitudes of travel, the things-which-cannot-be-changed, the fates assigned to us by the same gods who abandoned us long ago. It was the spark we see in the eyes of the patrolman shutting down the snowy pass, the local who tells you that you can’t get there from here, the mechanic who informs you that you’re not going anywhere today. She said she would be sure to make an announcement when she heard anything else. With that, our interaction was over. She reset herself for the person waiting behind me.

I’m hungry, Daddy…but I know you’re mad at me…so I’ll go away. After fumbling with the straps, the little boy turned away from the table. He went to the sofa and pulled himself onto it. Sitting in the corner, not making a sound, he watched the rest of his family eat. I’m so sorry. I was trying to help. I didn’t mean to cause any trouble. I know I was a bad boy. I’m so sorry. Mr. Hinkle’s heart broke for little Noah.

Beautiful women can be like dynamite,” (I said to Paul.)… “Now, now. There’s nothing wrong with dynamite if it’s treated right,” he said. It’s the men who go around with lighted matches that cause the trouble. By that, I mean they’ve got their dicks hanging out of their trousers all the time. You can see how that can be a  problem for the ladies?

When you are both breathing calmly, you reduce the drama and even eliminate it. What’s more, this is when your vibes can get through and offer a solution to the problem causing all the drama in the first place.

Cause she doesn’t want to see another marriage. She’s getting old, and there ain’t a man alive who’d be wanting to take her on for his wife with her sharp, back-sassing tongue and all, which suits me and the rest of us fine. Every family needs to have a spinster to care for ma's and pa's in their old age.” Chapter 1: Joseph and Abigail

Course I’m certain. I remember ’cause I asked if she was one of them sister wives. I was hoping for some drama like on that TV show, but she just mumbled that I must have seen it wrong. But I know what I saw. My eyes are working just fine.

In narcissistic abuse recovery you will raise your awareness of bad behavior. You will see people’s actions through a lens of protection and no longer tolerate drama and lower vibrational energy vampires. Of course knowing red flags is important but tapping into and listening to how someone makes you feel, is the key to happiness. A drama free zone must be the protection you deploy. If someone causes you to run to others to try to understand their behaviors, this relationship is not healthy for you. We need no labels, we need no proof they are a narcissist, you need to listen to your gut, and you need courage to walk away. No drama equals peace. Drama equals confusion, sadness, and fear.

Everyone reached out excitedly and ripped off the fruit, placing it on top of their cereal. Stef and Alice both picked up their spoons and began to eat. The room filled with clanging sounds as the spoons hit the porcelain bowls, echoing across the hall. 'Ahem,' Miss Moffat said, as she rose up from her dragon chair, her eyes fixed firmly on Stef and Alice before she led the rest of the girls into saying the witches’ creed. 'Witches old and witches young owls and bats and black cats too. Come together in this castle to bring out the best in you. With perfect love and perfect trust we learn the spells and witches' rules. Acting for the good of all now let’s eat in this great hall.' All eyes were on Stef and Alice who had finally realized what was going on. Both girls tried to quietly put their spoons down and swallow their food as quickly as possible. Stef began to choke and attempted to stifle the sound, reaching out for a sip of pineapple juice, the golden liquid that had magically appeared in each of the goblets. She tried to take a sip but had begun choking so much that she couldn't manage to drink any, and her face turned into a light shade of purple. 'Open your mouth,' Molly said, as she appeared by Stef's side. Stef opened it the best she could as Molly called over a bat, and with a wave of her wand, she caused it to shrink until it was the size of a small coin. Stef looked on in horror as it flew into her mouth and down her throat, appearing a few seconds later gripping the stuck piece of cereal. The rest of the girls cheered, and Stef looked sheepish, annoyed with herself for causing drama again and bringing negative attention to herself. 'Are you okay?' Charlotte whispered to her and Stef nodded back. Breakfast was by far the tastiest one that Charlotte had ever had. She'd never tasted fruit as delicious before and looked on in awe as the goblets continued to refill with pineapple juice. When the meal was finished, and the staff departed, Molly, whose hair was in a side braid, addressed the girls. 'I’d like all the new girls to stay behind, please, so I can take you to get kitted out with wands and broomsticks.' Each girl

If a child lives in constant worry that he might mess up and make his parents unhappy or that he’ll be punished, he won’t feel the freedom to do all the things that grow and strengthen his upstairs brain: considering others’ feelings, exploring alternative actions, understanding himself, and trying to make the best decision in a given situation. We don’t want our discipline to cause our children to focus all of their energy and neural resources on making us happy or staying out of trouble. Instead, we want our discipline to help grow our kids’ upstairs brains.

If a child lives in constant worry that he might mess up and make his parents unhappy or that he’ll be punished, he won’t feel the freedom to do all the things that grow and strengthen his upstairs brain: considering others’ feelings, exploring alternative actions, understanding himself, and trying to make the best decision in a given situation. We don’t want our discipline to cause our children to focus all of their energy and neural resources on making us happy or staying out of trouble. Instead, we want our discipline to help grow our kids’ upstairs brains. And that’s just what No-Drama Discipline does.

With the infallibility of a sleepwalker, she will seek out those who, like her parents (though for different reasons), certainly cannot understand her. Because of her blindness caused by repression, she will try to make herself understandable to precisely these people—trying to make possible what cannot be.

An adult spectator has greater command over his facial expressions, and it is perhaps for that very reason that fictitiously, that is, without a real cause or real action, he even more intensely lives through the entire gamut of noble and heroic feelings presented by the drama, or gives free rein in his imagination to the base and even criminal inclinations of his nature, the feelings he experiences being real, though his complicity in the crimes committed on the stage is fictitious. What interested me most in this argumentation was the element of “fictitiousness.” Thus art (so far in the form of theatre) enables man through co-experience fictitiously to perform heroic actions, fictitiously to experience great emotions, fictitiously to feel himself a hero like Franz Moor, to rid himself of base instincts with the assistance of Karl Moor, to regard himself as a sage like Faust, to feel inspired by God like Joan of Arc, to be an ardent lover like Romeo, to be a patriot like Count de Rizoor, to see his doubts dissipated by Kareno, Brand, Rosmer or Hamlet. More. The best thing about it was that these fictitious actions brought the spectator real satisfaction. Thus after seeing Verhaeren's Les aubes he feels he is a hero. After seeing Calderon's El principe constante he feels he is a martyr. After seeing Schiller's Kabale und Liebe he is overwhelmed by righteousness and self-pity. “But this is horrible!” I shuddered as I was crossing Trubnaya Square (or was it Sretenskiye Gates?). What infernal mechanics governed this sacred art whose votary I had become? That was mere than a lie! That was more than deceit! That was downright dangerous. Horribly, unspeakably dangerous. Only think: why strive for reality, if for a small sum of money you can satisfy yourself in your imagination without moving from your comfortable theatre seat?

One of the premier causes of unnecessary drama is bad boundaries.

To lovers out there … Don’t force people to love you. Don’t invest your time, love, energy and money to people you love . If you know you can’t handle it, when they disappoint you or turn you down. Know everyone has a right to a change of heart. Learn to let go, if they say its over or you find the relationship not working for you. Learn to resolve issues without violence. It is always better to walk away, rather than to cause harm, to kill or to hurt. Don’t be in a relationship ,if you are not at good place emotionally. Don’t take other people for granted or think they are stupid and use them and their money , because they said love you. Don’t think you are too smart. You can play your partner and start doing shady things behind their back. Everyone has a right to live and to love whoever they want to love, including you, but that doesn’t mean people you love are forced to love you back. Be single if you can’t handle a drama of a relationship or you have bad intensions.

The fervour accompanying these events may be deceptive. If it expresses nothing more than the zeal with which the countries of the East are casting aside the bonds of ideology, or if it is a mimetic fervour - a tribute, as it were, to those liberal countries where all liberty has already been traded in for a technically easy life - then we shall have found out definitively what freedom is worth, and that it is probably never to be discovered a second time. History offers no second helpings. On the other hand, it could be that the present thaw in the East may be as disastrous in the long term as the excess of carbon dioxide in the upper atmosphere, that it may bring about a political greenhouse effect, and so overheat human relations on the planet that the melting of the Communist ice-sheet will cause Western seaboards to be submerged. Odd that we should be in such absolute fear of the melting of the polar ice, and look upon it as a climatic catastrophe, while we aspire with every democratic bone in our bodies to the occurrence of just such an event on the political plane. If in the old days the USSR had released its gold reserves onto the world market, that market would have been completely destabilized. Today, by putting back into circulation their vast accumulated store of freedom, the Eastern countries could quite easily destabilize that very fragile balance of Western values which strives to ensure that freedom no longer emerges as action but only as a virtual and consensual form of interaction; no longer as a drama but merely as the universal psychodrama of liberalism. A sudden infusion of freedom as a real currency, as violent and active transcendence, as Idea, would be in every way catastrophic for our present air-conditioned redistribution of values. Yet this is precisely what we are asking of the East: freedom, the image of freedom, in exchange for the material signs of freedom. This is an absolutely diabolical contract, by virtue of which one signatory is in danger of losing their soul, and the other of losing their creature comforts. But perhaps - who knows? - this may, after all, be the best thing for both sides. Those societies that were formerly masked - Communist societies - have been unmasked. What is their face like? As for us, we dropped the mask long ago and have for a long time been without either mask or face. We are also without memory. We have reached the point of searching the water for signs of a memory that has left no traces, hoping against hope that something might remain when even the water's molecular memory has faded away. So it goes for our freedom: we would be hard put to it to produce a single sign of it, and we have been reduced to postulating its infinitesimal, intangible, undetectable existence in a (programmatic, operational) environment so highly dilute that in truth only a spectre of freedom floats there still, in a memory every bit as evanescent as water's.

In the first, two monkeys sit opposite each other on a branch, both inserting a finger ever deeper into the other’s nostril until the finger vanishes up to the first knuckle. Swaying gently, they sit like this with expressions on their faces described as “trancelike.” The monkeys are normally hyperactive and sociable, but hand-sniffers sit apart from the group, concentrating on each other for up to half an hour. Even more curious is the second game, in which one monkey inserts almost a whole finger between the other’s eyelid and eyeball. Monkey fingers are tiny, but relative to their eyes and noses they aren’t any smaller than ours. Also, their fingers have nails, which obviously aren’t particularly clean, so this behavior potentially scratches the cornea or causes infections. Now, the monkeys really need to sit still; otherwise someone may lose an eye. These games are most painful to watch! The pair keeps its posture for minutes, while the one whose eye is being poked may stick a finger into the other’s nostril. What purpose these weird games serve is unclear, but one idea is that the monkeys are testing their bonds. This explanation has also been offered with respect to human rituals in which we make ourselves vulnerable. Tongue-kissing, for example, carries the risk of disease transmission. Intimate kissing is either pleasurable or totally disgusting depending on the partner: Engaging in it thus says a lot about how we perceive the relationship. In couples, kissing is thought to test the love, enthusiasm, even faithfulness of the partner. Perhaps capuchin monkeys, too, are trying to find out how much they really like each other, which may then help them decide who can be trusted to support them during confrontations within the group. A second explanation is that these games help the monkeys reduce stress, of which they have no shortage. Their group life is full of drama. During eye-poking or hand-sniffing, they seem to enter an unusually calm, dreamy state. Are they exploring the borderline between pain and pleasure, perhaps releasing endorphins in the process?

Telling your story. All forgiveness must begin by facing the truth. You can write down in a journal or tell a trusted friend what happened. Telling your story also allows you to integrate the memories in your consciousness and defuse some of your emotional reactivity. To help heal the memories and avoid retraumatizing yourself, it is helpful to imagine that you are watching the event happen in a movie. This way you may reduce the chances of triggering the brain’s neural stress response. One scientific protocol by Ethan Kross and his colleagues suggests recalling your experience this way: Close your eyes. Go back to the time and place of the emotional experience and see the scene in your mind’s eye. Now take a few steps back. Move away from the situation to a point where you can watch the event unfold from a distance and see yourself in the event, the distant you. Watch the experience unfold as if it were happening to the distant you all over again. Observe your distant self. Naming the hurt. The facts are the facts, but these experiences caused strong emotions and pain, which are important to name. As you watch the situation unfold around your distant self, try to understand his or her feelings. Why did he or she have those feelings? What were the causes and reasons for the feelings? If the hurt is fresh, ask yourself, “Will this situation affect me in ten years?” If the hurt is old, ask yourself whether you want to continue to carry this pain or whether you want to free yourself from this pain and suffering. Granting forgiveness. The ability to forgive comes from the recognition of our shared humanity and the acknowledgment that, inevitably, because we are human we hurt and are hurt by one another. Can you accept the humanity of the person who hurt you and the fact that they likely hurt you out of their own suffering? If you can accept your shared humanity, then you can release your presumed right to revenge and can move toward healing rather than retaliation. We also recognize that, especially between intimates, there can be multiple hurts, and we often need to forgive and ask for forgiveness at the same time, accepting our part in the human drama. Renewing or releasing the relationship. Once you have forgiven someone, you must make the important decision of whether you want to renew the relationship or release it. If the trauma is significant, there is no going back to the relationship that you had before, but there is the opportunity for a new relationship. When we renew relationships, we can benefit from healing our family or community. When we release the relationship, we can move on, especially if we can truly wish the best for the person who has harmed us, and recognize that they, like us, simply want to avoid suffering and be happy in their life.

Another important problem with spanking is what happens to the child physiologically and neurologically. The brain interprets pain as a threat. So when a parent inflicts physical pain on a child, that child faces an unsolvable biological paradox. On one hand, we’re all born with an instinct to go toward our caregivers for protection when we’re hurt or afraid. But when our caregivers are also the source of the pain and fear, when the parent has caused the state of terror inside the child by what he or she has done, it can be very confusing for the child’s brain. One circuit drives the child to try to escape the parent who is inflicting pain; another circuit drives the child toward the attachment figure for safety. So when the parent is the source of fear or pain, the brain can become disorganized in its functioning, as there is no solution. We call this at the extreme a form of disorganized attachment. The stress hormone cortisol, released with such a disorganized internal state and repeated interpersonal experiences of rage and terror, can lead to long-lasting negative impacts on the brain’s development, as cortisol is toxic to the brain and inhibits healthy growth. Harsh and severe punishment can actually lead to significant changes in the brain, such as the death of brain connections and even brain cells.

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Where does all that leave the cinema? First, we must acknowledge that a film is a photograph of a drama, and that skilful use of the camera can never excuse the paltriness, sentimentality or weakness of the action. What I have said about modernism and its search for an art that will perpetuate the ethical vision, applies as much to the cinema as it does to the other arts. There are directors who have presented dramas that can be compared with the great modern works for the stage – Bergman, for instance, in Wild Strawberries, where an original situation, conveyed through masterly dialogue, is enhanced by dream sequences and flashbacks of a kind that can be managed successfully only through the skilful cutting that is the essential ingredient in cinematic art. Secondly, however, we must remember the distinction between fantasy and imagination, and the inherent tendency of the camera to realise what it shows – to present not a world of imagination, but a substitute reality. This is never more obvious than in the case of sex and violence, and is the root cause of the fact that these now dominate the cine screen, and would dominate television too, were it not for the censor. With the aid of the camera you can realise violence or the sexual act completely, and so minister to the fantasy which has sex or violence as its focus. If fantasy breaks through the tissue of imagination, then the dramatic thought is scattered, and the imaginative emotions along with it: drama then sinks into the background, and all that we have is obscenity – human flesh without the soul. Hence many people are quickly satiated by cinematic representations, and at the same time deeply disturbed and absorbed by features (violence in particular) which, from the dramatic point of view, have little intrinsic meaning. Imagination withers when realisation blooms, and the ethical view of our condition withers along with it. It is a significant fact that most cinema-goers are disposed to see their favourite films only a few times, and that even people whose interest is not in the drama but in the blood, screams, and orgasms have no great interest in revisiting the last occasion of excitement, and will proceed joylessly to the next one without raising the question of the value of what they watch. This contrasts with every other kind of dramatic art – theatre, novel, opera, dramatic poem – in which the perception of beauty brings with it a desire constantly to return to the source, to re-enact in our emotions a drama which never loses its point for us, since it touches the question why we are here.

AT THE END of the eighteenth century London was well into the mad, technology-driven expansion that would only stop with the establishment of the Metropolitan Green Belt in the 1940s. Since then, developers have gnashed their teeth and looked enviously back on a time when a man armed only with his own wits and a massive inherited estate could shape the very fabric of the capital. Times like when the fifth Duke of Bedford found his country house surrounded on three sides by Regency London, and decided there was nothing for it but to dig up the old back garden and rake in a ton of cash. He enlisted the legendary architect and developer James Burton, who had a thing for elegant squares, the newfangled long windows in the French style, and vestigial balconies with wrought iron decorative railings. The only carbuncle on the road to progress was the weird group of gentlemen who’d taken to meeting in the faux medieval tower that an earlier duke caused to be built to add some drama to his garden. These gentlemen were in the nature of a secret society, although they seemed well favored by certain members of court—particularly Queen Charlotte. In return for being allowed to demolish the tower, James Burton agreed to incorporate a magnificent mansion into the terrace along the southern side of the square. It would be built after the style of White’s—the famous gentlemen’s club—and include a demonstration room, library, dining hall, reading room, and accommodation for visiting members. The central atrium was so impressive it’s thought to have inspired Sir Charles Barry in his design of the more famous Reform Club forty years later. And so the Folly was born. And all of this at below market cost.

A mother cannot truly respect her child as long as she does not realize what deep shame she causes him with an ironic remark, intended only to cover her own uncertainty. Indeed, she cannot be aware of how deeply humiliated, despised, and devalued her child feels, if she herself has never consciously suffered these feelings, and if she tries to fend them off with irony.

The power of the bench stems from the fear of the bar on compromising the cause of its clientele.

Naturally, the single individual can be wrecked by old institutions just as much as he can be destroyed by the representatives of a new world. A class, however, that believes in its ultimate victory, will regard its sacrifices as the price of victory, whereas the other class, that feels the approach of its own inevitable ruin, sees in the tragic destiny of its heroes a sign of the coming end of the world and a twilight of the gods. The destructive blows of blind fate offer no satisfaction to the optimistic middle class which believes in the victory of its cause; only the dying classes of tragic ages find comfort in the thought that in this world all great and noble things are doomed to destruction and wish to place this destruction in a transfiguring light. Perhaps the romantic philosophy of tragedy, with its apotheosis of the self-sacrificing hero, is already a sign of the decadence of the bourgeoisie. The middle class will, at any rate, not produce a tragic drama in which fate is resignedly accepted until it feels threatened with the loss of its very life; then, for the first time, it will see, as happens in Ibsen’s play, fate knocking at the door in the menacing shape of triumphant youth.

Man finds himself in a much more dramatic situation in these climes than does his brother living in a temperate zone, and for this reason the causes of wars are deeper here and, one would like to say, more humane than in Europe, where history records wars started over such petty affairs as lèse-majesté, a dynastic feud, or a ruler’s persecution mania. In the desert the cause of war is the desire to live, man is born already entangled in that contradiction, and therein lies the drama. That is why Turkmen never knew unity; the empty aryk divided them.

But the principal cause of the difference lies in the plastic spirit of the antique, and the picturesque spirit of the romantic poetry. Sculpture directs our attention exclusively to the group which it sets before us, it divests it as far as possible from all external accompaniments, and where they cannot be dispensed with, it indicates them as slightly as possible. Painting, on the other hand, delights in exhibiting, along with the principal figures, all the details of the surrounding locality and all secondary circumstances, and to open a prospect into a boundless distance in the background; and light and shade with perspective are its peculiar charms. Hence the Dramatic, and especially the Tragic Art, of the ancients, annihilates in some measure the external circumstances of space and time; while, by their changes, the romantic drama adorns its more varied pictures. Or, to express myself in other terms, the principle of the antique poetry is ideal; that of the romantic is mystical: the former subjects space and time to the internal free-agency of the mind; the latter honours these incomprehensible essences as supernatural powers, in which there is somewhat of indwelling divinity.

Three common criminals in the eyes of Roman law carry their crosses up a hill. One of them Our Savior forgives and rescues him into paradise. It was so undramatic. In fact, it was boring. So the soldiers took dice and sat down and shook them to see who would have His garments. There, within a stone’s throw of them — was being enacted the tremendous drama of redemption, and they only sat and gambled. All life is a gamble, as we only know it! Some throw dice and play for such small stakes, such as garments and wealth; others throw a life and play for the stake of eternal salvation. But it was so undramatic! They missed their play and lost! But the man on the Cross was saying His cause had won. “It is finished.

The cause of Communism's bloodthirsty history may be found in the grandiosity of Communism as an idea, and the grandiose self-conception of the Communist as an agent of that idea. The successful strata of Communist revolutionaries suffer from an enormous, bloated egotism. One has merely to examine the psychology of a Hugo Chavez or Fidel Castro. Such are the special pampered children of history, magnificent in their own eyes, epic heroes, supreme and god-like agents of history's splendid drama. Here one finds no sense of self-limitation. There is only self-expansion. Unlike the well-adjusted human being, the aspiring Communist dictator is soaked in arrogance. From all of this flows the bloodthirstiness of the mass murderer. Identifying himself with the forces of history, the Communist leader puts himself in God's shoes. Here is a narcissism so pathological, an emptiness so profound, that nothing may come of it except monstrous crime.

This has been seen in contemplation by all the mystics of every time.   6.  [But, after all,] who knows, and who can say whence it all came, or how this creation came about? The gods, themselves, came later than this world’s creation, so who truly knows whence it has arisen?   7.  Whence all creation had its origin, only He, whether He fashioned it or not— He, who surveys it all from highest heaven—He knows. Or perhaps even He does not!7 Why on earth, we must all wonder at some time or another, would God have given birth to this dream-like realm, where individualized souls struggle for wisdom and contentment while continually buffeted by passions, blinded by ignorance, assailed by pain, and threatened with death? What could be His motive? As there were no witnesses to the initial Creation, there is no one to tell. But what of the mystic? Surely, while he is lost in the depths of the Eternal, he is in a unique position to explain the ‘why’ of Creation! Unfortunately, even the mystic perceives no ‘why’. For, in that unitive vision, He alone is. The joyful expression, which is the universal drama, radiates from Himself, the one Mind. He alone is the one Cause. There is nowhere else to look for causation, for whatever appears from Him and before Him is His own most natural and unquestionable radiation of Bliss.

One simple reason for malaria’s ferocity is that the protozoan creature that causes the disease is, by definition, a cheater at the game of life. It is a parasite, a creature that can eke out its livelihood only by depleting others of theirs. The rest of us all do our obscure little part in the drama of life, weaving ourselves deeper into local ecology and strengthening its fabric, the bees pollinating the flowers, predators culling the herds of their weakest members. Parasites don’t help anyone. They’re degenerates.

I intend to resign my post without permission, illegally requisition numerous Company ships and men, and take them on a half-baked voyage to the other ends of the earth for a futile romantic cause. Do any of you wish to arrest me now?” The film, missing out several other historically recorded exchanges of dialogue for drama’s sake, cuts to Ulrich Münchhausen commenting “The only reason we might arrest you is if you said we could not come with you.

To know the self requires we take a first step and see the drama, regardless of content, as a drama, and know it to be a reflection. Few are able to take this first, necessary step because we are so convinced the drama is real, that the props and cast, the scenes and dialogue are real, having a life independent of what we put in. Nowadays this conviction of the reality of the drama has even got to the point where we are all victims: women are victims, workers are victims, patients are victims, citizens are victims. We complain, protest, litigate, all in the solid conviction that it is ‘they’ who are the cause, that ‘it’ is the problem.

Hard science alone does not do justice to the cause of fully preserving the past. For that, you also need heart, a capacity for appreciating the drama and tragedy of a ship’s dying moments.

Wolves avoid people whenever possible. The number of attacks by wolves on humans is low. Most of the ones people hear about are undocumented stories from ancient times. There have been two cases in North America where individuals were killed by a wolf pack, but there’s conflicting evidence on even these two. Wolves have an amazing lack of interest in attacking people. Moose On the Loose Sandy Sisti My relationship with a moose cow and her calf began on May 21 when I stopped to photograph the pair. The calf was less than one day old. The moose cow had ventured to a secluded area to give birth. Her little calf was born on a small island in the middle of the Shoshone River, just twelve miles outside of Yellowstone’s East Entrance. Choosing such an isolated place isn’t unusual, since moose often give birth on islands in an effort to keep their helpless calves safe for the first few days of their lives. Unfortunately the extremely warm weather in 2014 caused the mountain snows to melt rapidly, flooding parts of the Shoshone River. While watching the pair, I couldn’t help but notice that the rising water was swallowing up their tiny island. Only a few bare patches were left where the moose could bed down. At the same time the flooding was stranding the cow and her newborn calf. The young fellow could barely stand and when he was able to get to his feet a few times a day to nurse, it was obviously quite an effort. I worried that this drama would end badly, so on that very first day I vowed to myself that I wouldn’t spend any more time with the cow and her calf for fear of the heartbreak I would feel if tragedy struck. I stuck to my vow for four days, although I would always quickly glance over at the mother and calf each time I drove past. The pair was stuck on a small bit of land far from the opposite shore. I couldn’t imagine how the little calf could ever make it across the rushing floodwaters to freedom and to an area where his mother could graze. For those first few days, the calf didn’t move much. He spent most of his time sleeping alongside his mother or standing to nurse as the river continued to rise. When the calf was five days old, I was surprised to see him up and about as I drove past on my way home from Yellowstone. Although he wasn’t yet steady on his feet, he was able to follow his mother around their island as she grazed. I spent six hours watching the pair that day and from that moment on I knew I could no longer keep my vow to not get emotionally involved. I grew attached to the little family and became very concerned that the calf would never be able to safely swim across the river to the mainland. A friend of mine had already contacted Wyoming Game and Fish and informed them of the situation. He was told that nature must be allowed to run its course. So all I could do was watch and wait. By Day Six of the calf’s life the moose cow had eaten all of

I can always find someone to go out with, and then you can take off with Luigi--” “Shh!” Kendra hisses. “Don’t ever say his name!” “Sorry!” Paige is contrite. “He says Catia would go mad if she knew,” Kendra whispers. Squashed beside me, I feel Kelly’s head nodding in vigorous agreement at this. “Oh, she totally would,” Paige agrees. “And we have to be really careful around Evan, too. He’d go crazy.” “It’s so unfair!” Kendra laments. “Just because he’s a bit older! Why can’t people understand? I don’t want to date boys my own age!” “I’ll totally help,” Paige assures her enthusiastically. “Hey!” cuts in a deeper voice, and I can hear the two girls start, their feet shuffling, their dresses rustling, at the interruption. “Ev!” Paige says quickly. “What’s up?” “I’m hiding out,” her brother says. “There’s this, um--lady, who--” “Omigod, I know!” Paige says in a happy rush. She’s having a fantastic evening; so much drama she doesn’t have time to keep up with it all. “She was, like, all over you!” “She said she feels much more at home with all us young people,” Evan recounts, sounding very uncomfortable. “She said her husband was really boring and everyone inside was really old--” “She’s really old!” Paige exclaims. “It was pretty embarrassing,” he says. “I mean, she made me waltz with her and she was kind of rubbing my arm and talking about my muscles.” “Cougar bait!” Paige trills. She giggles. “I bet you’d rather’ve been dancing with Violet, right? Did you head in this direction ’cause Violet came this way?” Evan mumbles something unintelligible.

Until now, we may have told many stories to ourselves and others to explain or justify what has happened to us in our lives. We may have thought long and hard about how others caused us to suffer needlessly or unjustly. But if we take the time to look in the mirror, we begin to see through the storylines of our personal drama. We realize that our self-cherishing is the author, the director, and the star of everything that is happening around us. These outer enemies are just our partners in the dance of life, here for a moment and then gone. But our thoughts, feelings, and reactions to the people and events in our lives have endured, making these momentary encounters ever present and vivid within the mind. Thus our attachment to momentary happiness and suffering stays with us, and we have roiled in misery as a result.

Admittedly, careful reading of each man's final treatise, Jomini's Summary of the Art of War and Clausewitz's On War, blurs the sharp distinctions some like to draw between their respective thoughts on success in war. It reveals the ironic twist that, in their theoretical approaches to the study of conflict, Jomini is more Clausewitzian, and Clausewitz more Jominian, than many people believe. Jomini is often, and unjustly, depicted as rigid, methodical, and legalistic in his approach to military theory. Yet, in the opening passages of his magnum opus, he defends himself against such accusations. the ensemble of my principles and of the maxims which are derived from them, has been badly comprehended by several writers; that some have made the most erroneous application of them; that others have drawn from them exaggerated consequences which have never been able to enter my head; for a general officer, after having assisted in a dozen campaigns, ought to know that war is a great drama, in which a thousand physical or moral causes operate more or less powerfully, and which cannot be reduced to mathematical calculations.1

Men Against Death followed the one-man campaign of writer Paul De Kruif against disease, hunger, and poverty. De Kruif burst on the scene with Microbe Hunters, which became a worldwide bestseller upon its publication in 1926. Other titles were Hunger Fighters, Why Keep Them Alive?, The Fight for Life, and Men Against Death. Though the latter book gave the series its name, the WPA writers selected liberally from all of De Kruif’s books, which the author donated without royalty to the cause. The lives of scientific trailblazers (Lister, Pasteur, etc.) were dramatized; an introductory broadcast June 30, 1938, was followed by the first drama on July

Drama Series’s carcass was unceremoniously carted away, by the usual contract hauler, to the dump where dead Brisbane horses routinely go. Her cause of death remained uncertain. Had she been bitten by a snake? Had she eaten some poisonous weeds out in that scrubby, derelict meadow? Those hypotheses crumbled abruptly, thirteen days later, when her stable mates began falling ill. They went down like dominoes. This wasn’t snakebite or toxic fodder. It was something contagious

Our bad emotions such as anger or hurt – especially if she was the one causing the anger or hurt – were definitely not allowed. Even if the problem wasn’t caused by her - say a skinned knee or a disappearing boyfriend – she most likely didn’t want us annoying her with our upset. The only way it would be permitted would be if she were feeding off the drama of it, and in that case we probably didn’t feel comfortable expressing those emotions as we knew somehow the response was wrong.

I had been excited by a chapter dealing with torture chambers. I still find it disturbing that sex and cruelty should be connected somewhere in my instincts. But the human personality is a drama, not a monologue; sad tricks of the mind can be offset by sound feelings in the heart; and the facts say that I have always been revolted by the very idea of deliberately causing pain.

I think of James’ approach to Juno’s sadness, and I see something that stirs within me a secondhand embarrassment. A constant asking of questions, a somewhat annoyance when Juno doesn’t answer them entirely—I cringe at it. However, it makes sense. They are twins; they live together, go home together, eat together … they are constantly around one another. For James, living with this observation that your twin sister is clearly not okay and not receiving much of an explanation for any of it must feel draining. It must be annoying; he must be fed up with the confusion it all causes. I agree—I hate the confusion caused by an absence of understanding or explanation of an issue that you’re incredibly concerned about, although the issues at hand are different: one dealing with a sibling’s depression and the other dealing with someone’s own recollection of their past.

Some of us intentionally stir up drama to release emotions, get the pot brewing, and add a little energy to our lives. Sometimes we can cause trouble in areas where we’d be better off without it. Turning our home into a battleground doesn’t leave us a good place to live.

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From a self psychology perspective, in the beginning and middle phases of the path the abused upscale wife • makes an unhealthy attempt to get her husband (a significant other who knows her well) to provide selfobject functions and complete her sense of self • uses the drama of the relationship as a palliative against the emptiness within • finds herself addicted to the intermittent positive feelings that her partner provides, causing her to remain ever hopeful for more • focuses on the material benefits and status of the upscale marriage • stays connected to an abusive partner to ward off the anxiety that losing him might evoke

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