Chains Theme Quotes

What are you going to do with it?” “Open a chain of beach-themed restaurants.” “It was too much to hope that achieving that much power would give you a sense of dignity.

When strangers on a train or a plane ask what I do for a living, I say, "I kill people." This response makes for a short conversation. No eye contact and no sudden movement from my seat-mate. Only peace and quiet. Rare is the fellow passenger who asks why I do it. I suppose I got tired hanging out in a book all day waiting for a story to begin. I write the kind of novels I want to read. And why the theme of solving murders? Violent death is larger than life and it's the great equalizer. By law, every victim is entitled to a paladin and a chase, else life would be cheapened. And the real reason I do this? My brain is simply bent this way. There is nothing else I would rather do. This neatly chains into my theory of the writing life. If you scratch an artist, under the skin you will find a bum who cannot hold down a real job. Conversely, if you scratch a bum... but I have never done that. The heart of my theory has puritan roots: if you love what you do, you cannot call it honest work.

Let us narrow the arguments down further. In certain respects, the theme of supplementarity is certainly no more than one theme among others. It is in a chain, carried by it. Perhaps one could substitute something else for it. But it happens that this theme describes the chain itself, the being-chain of a textual chain, the structure of substitution, the articulation of desire and of language, the logic of all conceptual oppositions taken over by Rousseau…It tells us in a text what a text is, it tells us in writing what writing it, in Rousseau’s writing it tells us Jean-Jacque’s desire etc…the concept of the supplement and the theory of writing designate textuality itself in Rousseau’s text in an indefinitely multiplied structure—en abyme.

Just the normal haunted-house stuff: rattling chains and ominous moans. But once I stop moaning and rattling chains, I fall right to sleep.

One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.

A recurrent theme of this book is that architects, fairly low in the chain of command and needing jobs, are prone to compromise with the state and the establishment. Very rarely do they resist the zeitgeist. On a political level such compromise leads to the folly of invading Vietnam, Iraq and Afghanistan, follies of modern complicity too obvious to need comment. On an architectural level they lead to tearing down historic districts, building leviathans for multinationals or, for instance, constructing with cheap building systems that soon collapse.

Finally, to the theme of the respiratory chain, it is especially noteworthy that David Kellin's chemically simple view of the respiratory chain appears now to have been right all along–and he deserves great credit for having been so reluctant to become involved when the energy-rich chemical intermediates began to be so fashionable. This reminds me of the aphorism: 'The obscure we see eventually, the completely apparent takes longer'.

I will conclude this work with stating in what light religion appears to me. If we suppose a large family of children, who, on any particular day, or particular circumstance, made it a custom to present to their parents some token of their affection and gratitude, each of them would make a different offering, and most probably in a different manner. Some would pay their congratulations in themes of verse and prose, by some little devices, as their genius dictated, or according to what they thought would please; and, perhaps, the least of all, not able to do any of those things, would ramble into the garden, or the field, and gather what it thought the prettiest flower it could find, though, perhaps, it might be but a simple weed. The parent would be more gratified by such a variety, than if the whole of them had acted on a concerted plan, and each had made exactly the same offering. This would have the cold appearance of contrivance, or the harsh one of control. But of all unwelcome things, nothing could more afflict the parent than to know, that the whole of them had afterwards gotten together by the ears, boys and girls, fighting, scratching, reviling, and abusing each other about which was the best or the worst present. Why may we not suppose, that the great Father of all is pleased with variety of devotion; and that the greatest offence we can act, is that by which we seek to torment and render each other miserable? For my own part, I am fully satisfied that what I am now doing, with an endeavour to conciliate mankind, to render their condition happy, to unite nations that have hitherto been enemies, and to extirpate the horrid practice of war, and break the chains of slavery and oppression is acceptable in his sight, and being the best service I can perform, I act it cheerfully. I do not believe that any two men, on what are called doctrinal points, think alike who think at all. It is only those who have not thought that appear to agree… As to what are called national religions, we may, with as much propriety, talk of national Gods. It is either political craft or the remains of the Pagan system, when every nation had its separate and particular deity…

The usual short story cannot have a complex plot, but it often has a simple one resembling a chain with two or three links. The short short, however, doesn't as a rule have even that much - you don't speak of a chain when there's only one link. ... Sometimes ... the short short appears to rest on nothing more than a fragile anecdote which the writer has managed to drape with a quantity of suggestion. A single incident, a mere anecdote - these form the spine of the short short. Everything depends on intensity, one sweeping blow of perception. In the short short the writer gets no second chance. Either he strikes through at once or he's lost. And because it depends so heavily on this one sweeping blow, the short short often approaches the condition of a fable. When you read the two pieces by Tolstoy in this book, or I.L. Peretz's 'If Not Higher,' or Franz Kafka's 'The Hunter Gracchus,' you feel these writers are intent upon 'making a point' - but obliquely, not through mere statement. What they project is not the sort of impression of life we expect in most fiction, but something else: an impression of an idea of life. Or: a flicker in darkness, a slight cut of being. The shorter the piece of writing, the more abstract it may seem to us. In reading Paz's brilliant short short we feel we have brushed dangerously against the sheer arbitrariness of existence; in reading Peretz's, that we have been brought up against a moral reflection on the nature of goodness, though a reflection hard merely to state. Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short. ... Writers who do short shorts need to be especially bold. They stake everything on a stroke of inventiveness. Sometimes they have to be prepared to speak out directly, not so much in order to state a theme as to provide a jarring or complicating commentary. The voice of the writer brushes, so to say, against his flash of invention. And then, almost before it begins, the fiction is brought to a stark conclusion - abrupt, bleeding, exhausting. This conclusion need not complete the action; it has only to break it off decisively. Here are a few examples of the writer speaking out directly. Paz: 'The universe is a vast system of signs.' Kafka in 'First Sorrow': The trapeze artist's 'social life was somewhat limited.' Paula Fox: 'We are starving here in our village. At last, we are at the center.' Babel's cossack cries out, 'You guys in specs have about as much pity for chaps like us as a cat for a mouse.' Such sentences serve as devices of economy, oblique cues. Cryptic and enigmatic, they sometimes replace action, dialogue and commentary, for none of which, as it happens, the short short has much room. There's often a brilliant overfocussing. ("Introduction")

Because of the way our brains function, our sense of ‘me’ naturally runs in narrative mode: we feel as if we’re the hero of the steadily unfolding plot of our lives, one that’s complete with allies, villains, sudden reversals of fortune, and difficult quests for happiness and prizes. Our tribal brains cast haloes around our friends and plant horns on the heads of our enemies. Our ‘episodic memory’ means we experience our lives as a sequence of scenes – a simplistic chain of cause and effect. Our ‘autobiographical memory’ helps imbue these scenes with subtextual themes and moral lessons. We’re constantly moving forward, pursuing our goals, on an active quest to make our lives, and perhaps the lives of others, somehow better. And our biased brains ensure that the ‘invisible actor’ that is us seems like a good person – someone morally decent whose values and opinions are usually correct. The healthy, happy brain runs a gamut of sly tricks in order to help us feel this way. It ensures we’re often over-generous with our estimation of ourselves, imagining we’re better looking, kinder, wiser, more intelligent, have better judgement, are less prejudiced and more effective in our personal and working lives than is actually true.

You may not recognize the name Steven Schussler, CEO of Schussler Creative Inc., but you are probably familiar with his very popular theme restaurant Rainforest Café. Steve is one of the scrappiest people I know, with countless scrappy stories. He is open and honest about his wins and losses. This story about how he launched Rainforest Café is one of my favorites: Steve first envisioned a tropical-themed family restaurant back in the 1980s, but unfortunately, he couldn’t persuade anyone else to buy into the idea at the time. Not willing to give up easily, he decided to get scrappy and be “all in.” To sell his vision, he transformed his own split-level suburban home into a living, mist-enshrouded rain forest to convince potential investors that the concept was viable. Yes, you read that correctly—he converted his own house into a jungle dwelling complete with rock outcroppings, waterfalls, rivers, and layers of fog and mist that rose from the ground. The jungle included a life-size replica of an elephant near the front door, forty tropical birds in cages, and a live baby baboon named Charlie. Steve shared the following details: Every room, every closet, every hallway of my house was set up as a three-dimensional vignette: an attempt to present my idea of what a rain forest restaurant would look like in actual operation. . . . [I]t took me three years and almost $400,000 to get the house developed to the point where I felt comfortable showing it to potential investors. . . . [S]everal of my neighbors weren’t exactly thrilled to be living near a jungle habitat. . . . On one occasion, Steve received a visit from the Drug Enforcement Administration. They wanted to search the premises for drugs, presuming he may have had an illegal drug lab in his home because of his huge residential electric bill. I imagine they were astonished when they discovered the tropical rain forest filled with jungle creatures. Steve’s plan was beautiful, creative, fun, and scrappy, but the results weren’t coming as quickly as he would have liked. It took all of his resources, and he was running out of time and money to make something happen. (It’s important to note that your scrappy efforts may not generate results immediately.) I asked Steve if he ever thought about quitting, how tight was the money really, and if there was a time factor, and he said, “Yes to all three! Of course I thought about quitting. I was running out of money and time.” Ultimately, Steve’s plan succeeded. After many visits and more than two years later, gaming executive and venture capitalist Lyle Berman bought into the concept and raised the funds necessary to get the Rainforest Café up and running. The Rainforest Café chain became one of the most successful themed restaurants ever created, and continues that way under Landry’s Restaurants and Tilman Fertitta’s leadership. Today, Steve creates restaurant concepts in fantastic warehouses far from his residential neighborhood!

MT: The arrival of Christ disturbs the sacrificial order, the cycle of little false periods of temporary peace following sacrifices? RG: The story of the “demons of Gerasa” in the synoptic Gospels, and notably in Mark, shows this well. To free himself from the crowd that surrounds him, Christ gets on a boat, crosses Lake Tiberias, and comes to shore in non-Jewish territory, in the land of the Gerasenes. It's the only time the Gospels venture among a people who don't read the Bible or acknowledge Mosaic law. As Jesus is getting off the boat, a possessed man blocks his way, like the Sphinx blocking Oedipus. “The man lived in the tombs and no one could secure him anymore, even with a chain. All night and all day, among the tombs and in the mountains, he would howl and gash himself with stones.” Christ asks him his name, and he replies: “My name is Legion, for there are many of us.” The man then asks, or rather the demons who speak through him ask Christ not to send them out of the area—a telling detail—and to let them enter a herd of swine that happen to be passing by. And the swine hurl themselves off the edge of the cliff into the lake. It's not the victim who throws himself off the cliff, it's the crowd. The expulsion of the violent crowd is substituted for the expulsion of the single victim. The possessed man is healed and wants to follow Christ, but Christ tells him to stay put. And the Gerasenes come en masse to beg Jesus to leave immediately. They're pagans who function thanks to their expelled victims, and Christ is subverting their system, spreading confusion that recalls the unrest in today's world. They're basically telling him: “We'd rather continue with our exorcists, because you, you're obviously a true revolutionary. Instead of reorganizing the demoniac, rearranging it a bit, like a psychoanalyst, you do away with it entirely. If you stayed, you would deprive us of the sacrificial crutches that make it possible for us to get around.” That's when Jesus says to the man he's just liberated from his demons: “You're going to explain it to them.” It's actually quite a bit like the conversion of Paul. Who's to say that historical Christianity isn't a system that, for a long time, has tempered the message and made it possible to wait for two thousand years? Of course this text is dated because of its primitive demonological framework, but it contains the capital idea that, in the sacrificial universe that is the norm for mankind, Christ always comes too early. More precisely, Christ must come when it's time, and not before. In Cana he says: “My hour has not come yet.” This theme is linked to the sacrificial crisis: Christ intervenes at the moment the sacrificial system is complete. This possessed man who keeps gashing himself with stones, as Jean Starobinski has revealed, is a victim of “auto-lapidation.” It's the crowd's role to throw stones. So, it's the demons of the crowd that are in him. That's why he's called Legion—in a way he's the embodiment of the crowd. It's the crowd that comes out of him and goes and throws itself off of the cliff. We're witnessing the birth of an individual capable of escaping the fatal destiny of collective violence. MT

The Crown’s attempts to disarm the colonists as a contributing grievance in the chain of events leading to the American Revolution and the imperative of guaranteeing the right to have arms in bills of rights are themes that pervade the thinking of the Founders’ generation.

Being invisible to your father hurts,” Val said. He fell silent, wondering where the words had come from. Growing up, he’d been the runt, too young, too dreamy, too artistic to keep up with his brothers or their friends. As a younger man, he’d been disinclined to academic brilliance, social wit, or business acumen, and denied by ducal fiat from buying his colors. For the first time, he wondered if he’d chosen the piano or simply chained himself to it by default. Nick shot him a curious glance. “Would it be so much better if you’d ended up like Bart and Victor? If Esther and Percy had to bury three sons instead of two, while you were spared the pains of living the life God gave you? I think the more important question now, Val, is are you invisible to yourself?” “No, Nick.” A mirthless laugh. “I am not, but just when I realize what a pit I had fallen into with my slavish devotion to a simple manual skill, just when I can begin to hope there might be more to life than benumbing myself on a piano bench, I find a woman I can love, but she can’t love me back.” “I think she does love you,” Nick replied, remaining seated as Val rose and crossed the room. “And you certainly do love her.” Val considered Nick’s words. They settled something inside him, in his head—where he planned and worked out strategies—and in his heart, where his music and his love for Ellen both resided. “I do love her.” Val lowered himself to sit on the little stage enthroning the piano. “I most assuredly do. It’s helpful to be reminded of this.” “Now I am going to cry,” Nick said with mock disgust as he crossed the room and once again sat right next to Val. “What will you do about Ellen?” “About Ellen? I agree with you: We love each other. She believes her love for me requires us to part. I believe our love requires us to be together for whatever time the good Lord grants.” “So you must convince her,” Nick concluded with a nod. “How will you go about this?” “I have some ideas.” Those ideas were like the first stirrings of a musical theme in Val’s head. Tenuous, in need of development, but they were taking hold in Val’s mind with the same tenacity as a lovely new tune. “God alone knows if my ideas will work.” Val

I’ll be hanged if I can understand how it concerns Evolution to get us out of a mere scrape.” “Out of all kinds of scrapes, my dear Brumm, Evolution has the power to deliver us. There is no conceivable scrape which is not a link in the great chain—in Chance, which is the empirical name for Evolution, and bears the same relation to it that alchemy bears to chemistry, and astrology to astronomy. And the last little scrape of all, death, is simply the charming means Evolution takes to get us out of the great big scrape, life. You will never be happy, my dear friend, until you submit to the Evolutionary will. If it were not so amusing, nothing would be more insufferable than the unanimity and persistency with which all men and kindreds and nations shout up into space, ‘What a scrape were in!’ It is the first thing the child says in its inarticulate way with the first breath of air it is able to employ. ‘Oh, what a scrape to be sure!’ And it is the last thing the man feels on his death-bed. And you will find that all the books and newspapers and music in the world are only expositions and sermons and fugues and variations on the one theme. ‘Oh, what a scrape!’ Now, it is my mission to change the world’s tune. I mean to teach it that scrape, luck, chance, is law, is Evolution, is the soul of the universe; and having brought man’s will into accord with the Evolutionary will, in a very short time it will come about that children will laugh with their first breath, as much as to say, ‘ What a delightful thing it is to come into the world.’ And on their death-beds men will cry, ‘How refreshing and noble it is to pass away,’ while all the books and newspapers and music of the world will cease to be a mere complaint, will cease—altogether, the books and newspapers, perhaps, and only glad music remain.

There have been periodic attempts to stop the supersizing of the state. In 1944 Friedrich Hayek warned that the state was in danger of crushing the society that gave it life in The Road to Serfdom. This provided an important theme for conservative politicians from then onward. In 1975 California’s current governor, Jerry Brown, in an earlier incarnation, declared an “era of limits.” This worry about “limits” profoundly reshaped thinking about the state for the next decade and a half. In the 1990s people on both the Left and the Right assumed that globalization would trim the state: Bill Clinton professed the age of big government to be over. In fact, Leviathan had merely paused for breath. Government quickly resumed its growth. George W. Bush increased the size of the U.S. government by more than any president since Lyndon Johnson, while globalization only increased people’s desire for a safety net. Even allowing for its recent setbacks, the modern Western state is mightier than any state in history and mightier, by far, than any private company. Walmart may have the world’s most efficient supply chain, but it does not have the power to imprison or tax people—or to listen to their phone calls. The modern state can kill people on the other side of the world at the touch of a button—and watch it in real time.

It was a common theme on Sally's talk shows, victims reunited with their bullies. The victim was always well groomed in some line of psychiatry, the bully a fat chain smoker in a tracksuit. After talking about their feelings at nauseating length, they'd end up crying on each other. It never said what to do if your bully was the UK's highest earning TV personality and a serial killer.

Psalm 116 Theme: Praise for being saved from certain death. Worship is a thankful response and not a repayment for what God has done. Author: Anonymous     1I love the LORD because he hears my voice         and my prayer for mercy. +     2Because he bends down to listen,         I will pray as long as I have breath! +     3Death wrapped its ropes around me;         the terrors of the grave* overtook me.         I saw only trouble and sorrow. +     4Then I called on the name of the LORD:         “Please, LORD, save me!” +     5How kind the LORD is! How good he is!         So merciful, this God of ours! +     6The LORD protects those of childlike faith;         I was facing death, and he saved me. +     7Let my soul be at rest again,         for the LORD has been good to me. +     8He has saved me from death,         my eyes from tears,         my feet from stumbling. +     9And so I walk in the LORD’s presence         as I live here on earth!    10I believed in you, so I said,         “I am deeply troubled, LORD.” +    11In my anxiety I cried out to you,         “These people are all liars!”    12What can I offer the LORD         for all he has done for me? +    13I will lift up the cup of salvation         and praise the LORD’s name for saving me.    14I will keep my promises to the LORD         in the presence of all his people. +    15The LORD cares deeply         when his loved ones die. +    16O LORD, I am your servant;         yes, I am your servant, born into your household;         you have freed me from my chains.    17I will offer you a sacrifice of thanksgiving         and call on the name of the LORD.    18I will fulfill my vows to the LORD         in the presence of all his people—    19in the house of the LORD         in the heart of Jerusalem.     Praise the LORD!

Love Hurts. I daresay there’s two or three poems, six novels and at least twelve songs on the subject. That’s how the Janus-faced beast of poetry gets written in the first place, in all its myriad of magical forms. So; why cover this hitherto uncharted and highly original territory? Why leap fearlessly into the unknown, nostrils flared, eyes flashing fire? Well, in the name of love, lust and limerence, why on earth not? Suffering is gratuitous and pointless, yet also vital, valuable and necessary. My last tête à tête gave me plenty, incorporating elements of the forbidden, of rebellion, pornography, pregnancy, parental approval – followed by fury – of infidelity, friend estrangement, life on one island that was heavenly and a second that veered between purgatorial and infernal, of violence, miscarriage, masturbating Indians, pepper spray, antipathy, disloyalty, evictions, a planned future, failed globetrotting and habitual lies, whilst being indicative of a wider, all-encompassing social corrosion, and while the story itself may remain merely hinted at or alluded to in the course of this generalised polemic, it’s as worthy or valid as any other such tale told round the campfire and whispered across the beaches of the world. All life’s a roll of the dice, tiger; ride into the bastard storm and if your wounds hurt, be grateful you survived to lick them, even in the darkest nights of the soul when the sun is a mattress fire the god of your love died in. Love Hurts, and in a stupendous and savage cosmos, it’s my right to sit at the keyboard and bleed. Besides, love, poverty and war are the necessary accoutrements to a fulfilled life; this is the all-encompassing theme of our human condition and the crooning, persuasive symphony of that philosophically unfathomable miracle of life itself… especially as love leads to poverty and war. Man is born unto trouble as the sparks fly upward, after all. I certainly am… we choose our own chains... ~excerpt, "Love Hurts

Ohhhhhh lawwwdd, that’s a head! A whole muthafuckin’ head! I wanna break up with you niggas ‘cause my lil’ ass ain’t built for this shit! Nah, we not dem boys! I take my theme song back! Fuck that! ‘Cause like his head is sitting right there, and his muthafuckin’ body is hanging on that chain like it’s the fuck right!

Perhaps there are resources of courage, creativity and higher intelligence latent in each of us. Perhaps a sociological chain reaction can still be set in action if enough people learn how to transcend fashionable self-pity and make an effort to become happier and more efficient. Perhaps we are not dead yet, but only hypnotized by morbid and moribund philosophies. Perhaps the powers of the human brain have never fully been released in the paleolithic, neolithic, feudal, capitalist or socialist games. Perhaps the limits that seem to restrict us are only bad habits and we can transcend all of them. And – this is the major theme of the pages to follow – perhaps the human brain can be used for fun and profit; perhaps the brain is not designed for failure, as current intellectual dogma holds, but for “total success in Universe” as Bucky Fuller claimed.

I blinked at a display of purses made from superhero-themed fabric. I hadn’t realized there were so many different ways to wear a cape, or so many different styles of bustier that people would consider appropriate to wear into combat.

Six key themes The real reset has gone much deeper and encompasses six key themes, all of which are linked: 1) The shift from a push system, based on producer dominance, oligopolistic competition, limited supply and restricted access, to a pull system driven by consumer dominance, near-perfect competition, perfect knowledge and ubiquitous access to goods. 2) The change from mass marketing, based on a few research and segmentation studies, to personalized marketing, based on individual customer data. 3) The realization that the e-commerce revolution and the communications revolution (social media, user reviews, influencers, etc.) has broken the traditional supply chain, with its multiple players – manufacturers, branded wholesalers and retailers – all supping from the margin cup and adding their mark-ups to prices, and replaced it with a shorter and more direct route to market. 5) The realization that the stores channel was not the only, or even best, way of moving goods from factories to consumers. Indeed, that it was inferior to the e-commerce channel in many respects as a pure goods-transmission mechanism. 6) That putting the consumer at the heart of the business model required seeing the different channels as the consumer saw them – not competing, but complementary to each other. 7) That based on this, the traditional model of the store, as a ‘warehouse’ piled high with stock and with just a narrow fringe of branding and customer service on top, was obsolete and that only a ruthless attention to the remaining added value of physical stores could ensure their continued relevance and survival.

We convinced EarthLink to pay us $125,000 to become “the official Internet Service Provider of the Parks Department.” We used that money to pay to build a new website to help New Yorkers take advantage of everything offered at their parks. We owed EarthLink attention and media coverage in return. So we built a forty-foot-by-forty-foot giant spiderweb of rope in Times Square. We dressed Henry in a sequined silver suit and top hat, put him on a riser obscured by dry ice, and blasted the theme song to 2001: A Space Odyssey out of the giant speaker they use for New Year’s Eve as he ascended the web to launch the new Parks Department website, paid for by EarthLink. The same approach worked for policy initiatives. We staged elaborate funerals for trees murdered by people (cut down illegally by construction crews or poisoned by people who thought their views were obstructed by trees). One time, Henry chained himself to a tree in Union Square Park to try to prevent its demise. This all helped fuel legislation through the city council making arborcide a crime.

A sexier version of the Mortal Kombat theme song plays in the background of my mind while my Madame Kink avatar cheers at the new level I’ve gained. Purchase of whips, chains, handcuffs and a black leather one piece now available. But wait, there’s more. That sneaky little bastard gift with purchase is there, too. A ball gag!

Distance is the continual theme and has been one of the main conditioning factors in Australian history. She was distant and dependent, a continent swinging on a long chain in antipodean darkness.

It may seem absurd at first, but it is perfectly fitting that our first touchpoint with Tiphareth, the Sephirah that represents the consciousness of the Christ, is represented by the Devil tarot card. The devil is merely a symbol for an illusion. At the same time, so are all man’s ideas of what “God” is: an illusion. We indeed become caught up in our own personal perceptions of God, rather than the reality of God. We get so wrapped up—and become slave to—our ideas and notions of what we think God is to us, just like the two chained persons in the tarot card. They are slave not to the literal creature “the devil”; they are slave to the established orthodoxy of their own ideas. The devil is merely a scapegoat for their own shortcomings. Too often we blame this invisible adversary for the sins which are, frankly, our own responsibility. Facing the devil, facing this illusion, is the first step in the dark night to receive the truth of Tiphareth, of the individuality. Moving further into the Great Work, our notions of what we perceive God to be are likely to change, to be turned completely upside down. We need to be ready, as we strive further and further to uncover the veil of the Mysteries, for Truth with a capital T. Based upon our current understanding of the world, this Truth can seem more like paradox than logic. Yet, the world of spirit is often irrational to the world of the nonspiritual. This takes an intuitive leap past the logical framework of Hod in order to reach new frontiers of understanding that will often seem downright scary because of their illogical nature. We must be constantly aware of everything around us as illusion. The Hebrew letter for this Path, Ayin, means “eye,” which aligns with the optical nature of this theme. The eye can be easily tricked. Ayin is a reminder of the paradox between the physical eye and one’s intuition. The initiate must understand that the material world is illusion and take great care not to confuse outer forms with inner reflection. One may relate to another in some way, but they are not the same thing. One may relate to another in some way, but they are not the same thing. As always, discernment is your ally.

This, for the purpose of this celebration, is the 4th of July. It is the birthday of your National Independence, and of your political freedom. What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? Fellow-citizens; above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do not faithfully remember those bleeding children of sorrow this day, “may my right hand forget her cunning, and may my tongue cleave to the roof of my mouth!” To forget them, to pass lightly over their wrongs, and to chime in with the popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the world. My subject, then fellow-citizens, is AMERICAN SLAVERY. I shall see, this day, and its popular characteristics, from the slave’s point of view. Standing there, identified with the American bondman, making his wrongs mine, I do not hesitate to declare, with all my soul, that the character and conduct of this nation never looked blacker to me than on this 4th of July! Whether we turn to the declarations of the past, or to the professions of the present, the conduct of the nation seems equally hideous and revolting. America is false to the past, false to the present, and solemnly binds herself to be false to the future.