Characters Development Quotes

Education without values, as useful as it is, seems rather to make man a more clever devil.

Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, vision cleared, ambition inspired, and success achieved.

You should date a girl who reads. Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve. Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn. She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book. Buy her another cup of coffee. Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice. It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does. She has to give it a shot somehow. Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world. Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two. Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series. If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are. You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype. You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots. Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads. Or better yet, date a girl who writes.

There is beauty in truth, even if it's painful. Those who lie, twist life so that it looks tasty to the lazy, brilliant to the ignorant, and powerful to the weak. But lies only strengthen our defects. They don't teach anything, help anything, fix anything or cure anything. Nor do they develop one's character, one's mind, one's heart or one's soul.

Talent develops in solitude, character develops in the stream of life.

Who we are in the present includes who we were in the past.

Books... are like lobster shells, we surround ourselves with 'em, then we grow out of 'em and leave 'em behind, as evidence of our earlier stages of development.

A relationship built on lies and trickery will not last; only truthfulness can uphold a relationship

Life will throw different character tests at you that are designed to see how well you do. The key to passing these tests is having the right values in place that you've developed over time and that now define your character.

Whoa, I've really got to stop making plans with fictional characters. It can't be healthy to develop relationships with people who don't exist.

No pain that we suffer, no trial that we experience is wasted. It ministers to our education, to the development of such qualities as patience, faith, fortitude and humility. All that we suffer and all that we endure, especially when we endure it patiently, builds up our characters, purifies our hearts, expands our souls, and makes us more tender and charitable, more worthy to be called the children of God . . . and it is through sorrow and suffering, toil and tribulation, that we gain the education that we come here to acquire and which will make us more like our Father and Mother in heaven.

You read and write and sing and experience, thinking that one day these things will build the character you admire to live as. You love and lose and bleed best you can, to the extreme, hoping that one day the world will read you like the poem you want to be.

The thought manifests the word; The word manifests the deed; The deed develops into habit; And habit hardens into character; So watch the thought and its ways with care, And let them spring forth from love Born out of compassion for all beings. As the shadow follows the body, as we think, so we become.

It isn't the big troubles in life that require character. Anybody can rise to a crisis and face a crushing tragedy with courage, but to meet the petty hazards of the day with a laugh - I really think that requires spirit. It's the kind of character that I am going to develop. I am going to pretend that all life is just a game which I must play as skillfully and fairly as I can. If I lose, I am going to shrug my shoulders and laugh - also if I win.

We become the books we read.

True education does not consist merely in the acquiring of a few facts of science, history, literature, or art, but in the development of character.

There are times when I am so unlike myself that I might be taken for someone else of an entirely opposite character.

There will be times in your life that you will be challenged to choose between honor and something else. I am asking that you not sacrifice your honor for the sake of acquiring easy things.

To compose our character is our duty, not to compose books, and to win, not battles and provinces, but order and tranquility in our conduct. Our great and glorious masterpiece is to live appropriately. All other things, ruling, hoarding, building, are only little appendages and props, at most.

Poem by Howard A. Walter (Character) I would be true, for there are those who trust me; I would be pure, for there are those who care; I would be strong, for there are those who suffer; I would be brave, for there is much to dare. I would be friend of all--- the foe, the friendless; I would be giving, and forget the gift; I would be humble, for I know my weakness; I would look up, and laugh, and love, and lift.

How to win in life: 1 work hard 2 complain less 3 listen more 4 try, learn, grow 5 don't let people tell you it cant be done 6 make no excuses

Society will develop a new kind of servitude which covers the surface of society with a network of complicated rules, through which the most original minds and the most energetic characters cannot penetrate. It does not tyrannise but it compresses, enervates, extinguishes, and stupefies a people, till each nation is reduced to nothing better than a flock of timid and industrious animals, of which the government is the shepherd.

The better ambitions have to do with the development of character and ability, rather than status and power. Status you can lose. You carry character with you wherever you go, and it allows you to prevail against adversity.

I am a strong and powerful woman. I am proud to be a woman and I celebrate the qualities that I have as a woman. I am not defined by other people’s opinion of who I should be or what I should do as a woman. I determine that, not anyone else. I am not passed up for a position, title, or promotion because I am a woman. I fully deserve all the good things that comes my way. Irrespective of what anyone might think, being a woman places no boundaries or limits on my abilities. I can do anything I set my mind to. I celebrate my womanhood and I am beautiful both inside and out.

Reading fiction not only develops our imagination and creativity, it gives us the skills to be alone. It gives us the ability to feel empathy for people we've never met, living lives we couldn't possibly experience for ourselves, because the book puts us inside the character's skin.

As adults, we try to develop the character traits that would have rescued our parents.

Aren't we all drawn to friends in the beginning by trifling things? True bonds develop afterward, when character is revealed.

Live your life in such a way that you'll be remembered for your kindness, compassion, fairness, character, benevolence, and a force for good who had much respect for life, in general.

Character is both developed and revealed by tests, and all of life is a test... You will be tested by major changes, delayed promises, impossible problems, unanswered prayers, undeserved criticism, and even senseless tragedies.

Rise to the challenges that life presents you. You can't develop genuine character and ability by sidestepping adversity and struggle.

Does character develop over time? In novels, of course it does: otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And also—if this isn't too grand a word—our tragedy.

Don't go overboard in praising required behavior: 'We have only done our duty' (Luke 17:10). But do go overboard when your child confesses the truth, repents honestly, takes chances, and loves openly. Praise the developing character in your child as it emerges in active, loving, responsible behavior.

Your strength doesn't come from winning. It comes from struggles and hardship. Everything that you go through prepares you for the next level.

The function of education, therefore, is to teach one to think intensively and to think critically. But education which stops with efficiency may prove the greatest menace to society. The most dangerous criminal may be the man gifted with reason, but with no morals.

I couldn’t have loved her more if she was my own child. But sometimes I considered shaving her eyebrows off while she slept. For the sake of developing her character.

Father said conflict develops the character

Life is a series of experiences, each of which makes us bigger, even though it is hard to realize this. For the world was built to develop character, and we must learn that the setbacks and griefs which we endure help us in our marching onward.

It's never too late to change what you are, it took me a long time to figure that out.

No government has the right to decide on the truth of scientific principles, nor to prescribe in any way the character of the questions investigated. Neither may a government determine the aesthetic value of artistic creations, nor limit the forms of literacy or artistic expression. Nor should it pronounce on the validity of economic, historic, religious, or philosophical doctrines. Instead it has a duty to its citizens to maintain the freedom, to let those citizens contribute to the further adventure and the development of the human race.

Good character is not formed in a week or a month. It is created little by little, day by day. Protracted and patient effort is needed to develop good character.

Knowledge planted in truth grows in truth. Strength born of peace loses nothing to hate.

If relationships have been pinned down like nails in the wall and do not renew themselves every moment, allowing us to change our mind’s core or improve our world vision, we are like frozen characters that remain only at the stage of “being” and do not develop into the instar of “becoming.” ("Like a frozen image")

Oh, I'm developing a beautiful character! It droops a bit under cold and frost, but it does grow fast when the sun shines. That's the way with everybody. I don't agree with the theory that adversity and sorrow and disappointment develop moral strength. The happy people are the ones who are bubbling over with kindliness.

What matters most in a child's development, they say, is not how much information we can stuff into her brain in the first few years. What matters, instead, is whether we are able to help her develop a very different set of qualities, a list that includes persistence, self-control, curiosity, conscientiousness, grit and self-confidence.

Character, like a photograph, develops in darkness.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

Some attribute had departed from her, the permanence of which had been essential to keep her a woman. Such is frequently the fate, and such the stern development, of the feminine character and person, when the woman has encountered, and lived through, an experience of peculiar severity. If she be all tenderness, she will die. If she survive, the tenderness will either be crushed out of her, or—and the outward semblance is the same—crushed so deeply into her heart that it can never show itself more.

Talent develops in tranquility, character in the full current of human life.

Rebellion is necessary for development of character.

Say to yourself, I am perfect, the way I am. Say to yourself, I am beautiful the way I am. Say to yourself, those who do not accept me the way I am, do not deserve me in their life.

No two persons can learn something and experience it in the same way.

Encourage literally came from "in courage." The courage is put "into" you from outside. Our character and abilities grow through internalizing from others what we do not possess in ourselves.

An authentic and genuine life grows like a sturdy tree. And like a tree, it grows slowly. Every time you make a different and better decision, it grows a little. Every time you choose to do the right thing, even when nobody would find out otherwise, it grows a little. Every time you act with compassion, relinquish your right to strike back, take a courageous stand, admit fault or accept responsibility, it grows a little.

It is a healthy approach not to expect persons to turn out precisely how you would have wished.

Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.

Choose to be good and kind and tolerant regardless of the situation or who's involved, because life is more a matter of developing character than of dishing out just rewards.

Your reputation is what others think of you; your character is what you truly are. Reputations can be manipulated; character can only be developed and maintained.

I am thankful that there are those among us who have sacrificed dearly on behalf of us. And I ardently pray to God that I might be less like myself and more like them.

Aren’t there limits to your powers? Can you do things like read my mind?” “I knew you were going to ask that.

Happiness comes from righteous living and the development of a noble character. You can observe this by noticing that people who are truly happy are honest, unselfish, kind, responsible and have a high moral standards. On the other hand, unhappy people are invariably selfish, lazy, irresponsible and lacking of self discipline. And people who are miserable tend to be immoral, dishonest, greedy, cruel, or in other ways dark in character.

A person whose desires and impulses are his own—are the expression of his own nature, as it has been developed and modified by his own culture—is said to have a character. One whose desires and impulses are not his own, has no character, no more than a steam-engine has character…

Embrace who you are and your divine purpose. Identify the barriers in your life, and develop discipline, courage and the strength to permanently move beyond them, and keep moving forward.

Develop and protect a moral sensibility and demonstrate the character to apply it. Dream big. Work hard. Think for yourself. Love everything you love, everyone you love, with all your might. And do so, please, with a sense of urgency, for every tick of the clock subtracts from fewer and fewer.

It's about personal development. It's about creating your own character and pushing it to the limit. It's about pushing yourself so far out of your own and everybody else's idea of who you are and what you're capable of, that you no longer believe in limits. It's about reaching beyond your so-called potential, because your potential is never where you or anyone else expects it to be, not even close. It's about being able to say with the last breath of your life “I used all my potential and all my talents and pushed myself to the limit. I could not have fought any harder.

The desire to criticise becomes less and less as the character is developed. It is the mark of a fine character never to be critical and to mention but rarely the faults of others. A strong character does not resist evil, but uses their strength in building the good. They know that when the light is made strong, the darkness will disappear of itself.

This is the oath of a Knight of King Arthur's Round Table and should be for all of us to take to heart. I will develop my life for the greater good. I will place character above riches, and concern for others above personal wealth, I will never boast, but cherish humility instead, I will speak the truth at all times, and forever keep my word, I will defend those who cannot defend themselves, I will honor and respect women, and refute sexism in all its guises, I will uphold justice by being fair to all, I will be faithful in love and loyal in friendship, I will abhor scandals and gossip-neither partake nor delight in them, I will be generous to the poor and to those who need help, I will forgive when asked, that my own mistakes will be forgiven, I will live my life with courtesy and honor from this day forward.

What is my life for and what am I going to do with it? I don't know and I'm afraid. I can never read all the books I want; I can never be all the people I want and live all the lives I want. I can never train myself in all the skills I want. And why do I want? I want to live and feel all the shades, tones, and variations of mental and physical experience possible in my life. And I am horribly limited. Yet I am not a cretin: lame, blind and stupid. I am not a veteran, passing my legless, armless days in a wheelchair. I am not that mongoloidish old man shuffling out of the gates of the mental hospital. I have much to live for, yet unaccountably I am sick and sad. Perhaps you could trace my feeling back to my distaste at having to choose between alternatives. Perhaps that's why I want to be everyone - so no one can blame me for being I. So I won't have to take the responsibility for my own character development and philosophy. People are happy - - - if that means being content with your lot: feeling comfortable as the complacent round peg struggling in a round hole, with no awkward or painful edges - no space to wonder or question in. I am not content, because my lot is limiting, as are all others. People specialize; people become devoted to an idea; people "find themselves." But the very content that comes from finding yourself is overshadowed by the knowledge that by doing so you are admitting you are not only a grotesque, but a special kind of grotesque.

He was a man of very few words, and as it was impossible to talk, one had to keep silent. It’s hard work talking to some people, most often males. I have a Theory about it. With age, many men come down with testosterone autism, the symptoms of which are a gradual decline in social intelligence and capacity for interpersonal communication, as well as a reduced ability to formulate thoughts. The Person beset by this Ailment becomes taciturn and appears to be lost in contemplation. He develops an interest in various Tools and machinery, and he’s drawn to the Second World War and the biographies of famous people, mainly politicians and villains. His capacity to read novels almost entirely vanishes; testosterone autism disturbs the character’s psychological understanding.

With six weeks' worth of recuperation time, you'll also be able to see any glaring holes in the plot or character development. And listen--if you spot a few of these big holes, you are forbidden to feel depressed about them or to beat up on yourself. Screw-ups happen to the best of us.

A NATION'S GREATNESS DEPENDS ON ITS LEADER To vastly improve your country and truly make it great again, start by choosing a better leader. Do not let the media or the establishment make you pick from the people they choose, but instead choose from those they do not pick. Pick a leader from among the people who is heart-driven, one who identifies with the common man on the street and understands what the country needs on every level. Do not pick a leader who is only money-driven and does not understand or identify with the common man, but only what corporations need on every level. Pick a peacemaker. One who unites, not divides. A cultured leader who supports the arts and true freedom of speech, not censorship. Pick a leader who will not only bail out banks and airlines, but also families from losing their homes -- or jobs due to their companies moving to other countries. Pick a leader who will fund schools, not limit spending on education and allow libraries to close. Pick a leader who chooses diplomacy over war. An honest broker in foreign relations. A leader with integrity, one who says what they mean, keeps their word and does not lie to their people. Pick a leader who is strong and confident, yet humble. Intelligent, but not sly. A leader who encourages diversity, not racism. One who understands the needs of the farmer, the teacher, the doctor, and the environmentalist -- not only the banker, the oil tycoon, the weapons developer, or the insurance and pharmaceutical lobbyist. Pick a leader who will keep jobs in your country by offering companies incentives to hire only within their borders, not one who allows corporations to outsource jobs for cheaper labor when there is a national employment crisis. Choose a leader who will invest in building bridges, not walls. Books, not weapons. Morality, not corruption. Intellectualism and wisdom, not ignorance. Stability, not fear and terror. Peace, not chaos. Love, not hate. Convergence, not segregation. Tolerance, not discrimination. Fairness, not hypocrisy. Substance, not superficiality. Character, not immaturity. Transparency, not secrecy. Justice, not lawlessness. Environmental improvement and preservation, not destruction. Truth, not lies. Most importantly, a great leader must serve the best interests of the people first, not those of multinational corporations. Human life should never be sacrificed for monetary profit. There are no exceptions. In addition, a leader should always be open to criticism, not silencing dissent. Any leader who does not tolerate criticism from the public is afraid of their dirty hands to be revealed under heavy light. And such a leader is dangerous, because they only feel secure in the darkness. Only a leader who is free from corruption welcomes scrutiny; for scrutiny allows a good leader to be an even greater leader. And lastly, pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

Destroy your life; then put it back together.You'll get great material, meet some fascinating characters and – side benefit – the skills you develop will give you greater compassion, insight and range with the people you create on the page – or run into off of it.

I'd write of people and places like I knew, and I'd make my characters talk everyday English; and I'd let the sun rise and set in the usual quiet way without much fuss over the fact. If I had to have villains at all, I'd give them a chance, Anne--I'd give them a chance. There are some terrible bad men the world, I suppose, but you'd have to go a long piece to find them...But most of us have got a little decency somewhere in us. Keep on writing, Anne.

I consider it presumption in anyone to pretend to decide what women are or are not, can or cannot be, by natural constitution. They have always hitherto been kept, as far as regards spontaneous development, in so unnatural a state, that their nature cannot but have been greatly distorted and disguised; and no one can safely pronounce that if women’s nature were left to choose its direction as freely as men’s, and if no artificial bent were attempted to be given to it except that required by the conditions of human society, and given to both sexes alike, there would be any material difference, or perhaps any difference at all, in the character and capacities which would unfold themselves.

Avoid trivial pursuits. You are a child of God, destined for glory, and called to do great things in His Name. Do not waste your life on hobbies, sports, and other recreational pursuits. Do not throw away the precious moments of your life on entertainment, movies, and video games. Though some of these things can properly have a 'small place' in the Christian’s life, we must be careful not to give undue attention to temporal and fruitless activities. Do not waste your life. Employ the time of your youth in developing the character and skills necessary to be a useful servant of God.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect

when once-naïve people recognize in themselves the seeds of evil and monstrosity, and see themselves as dangerous (at least potentially) their fear decreases. They develop more self-respect. Then, perhaps, they begin to resist oppression. They see that they have the ability to withstand, because they are terrible too. They see they can and must stand up, because they begin to understand how genuinely monstrous they will become, otherwise, feeding on their resentment, transforming it into the most destructive of wishes. To say it again: There is very little difference between the capacity for mayhem and destruction, integrated, and strength of character. This is one of the most difficult lessons of life.

You realize that is you allow me to court you, all your opposition to marriage is going to have to be reconsidered." She smiled, feigning innocence."What opposition to marriage?" "Excellent." "But I'm thinking we should have a long courtship." "Why?" He looked surprised. "Because i find I've developed a taste for adventure." "That sounds dangerous. Not at all in character for a delicate flower." She laughed." We know I've never been good at being a delicate flower. Besides, it shan't be too dangerous." "How can you be so sure?" She smiled brilliantly at him, taking his breath away. "Because, on my next adventure, I'll have you by my side.

Ron told Pippa that during the six years he had spent on the book, Valerie Chernow had developed a powerful identification with Hamilton’s wife. “She used to say, ‘Eliza is like me: She’s good, she’s true, she’s loyal, she’s not ambitious.’ There was a purity and a goodness about the character, and that was like Valerie,” he says. In 2006, after 27 years of marriage, Valerie passed away. For her gravestone, Ron chose a line from the letter that Hamilton wrote to Eliza on the night before the duel: “Best of wives and best of women.

When I ask French parents what they most want for their children, they say things like "to feel comfortable in their own skin" and "to find their path in the world." They want their kids to develop their own tastes and opinions. In fact, French parents worry if their kids are too docile. They want them to have character. But they believe that children can achieve these goals only if they respect boundaries and have self-control. So alongside character, there has to be cadre.

I would love to believe that when I die I will live again, that some thinking, feeling, remembering part of me will continue. But as much as I want to believe that, and despite the ancient and worldwide cultural traditions that assert an afterlife, I know of nothing to suggest that it is more than wishful thinking. I want to grow really old with my wife, Annie, whom I dearly love. I want to see my younger children grow up and to play a role in their character and intellectual development. I want to meet still unconceived grandchildren. There are scientific problems whose outcomes I long to witness—such as the exploration of many of the worlds in our Solar System and the search for life elsewhere. I want to learn how major trends in human history, both hopeful and worrisome, work themselves out: the dangers and promise of our technology, say; the emancipation of women; the growing political, economic, and technological ascendancy of China; interstellar flight. If there were life after death, I might, no matter when I die, satisfy most of these deep curiosities and longings. But if death is nothing more than an endless dreamless sleep, this is a forlorn hope. Maybe this perspective has given me a little extra motivation to stay alive. The world is so exquisite, with so much love and moral depth, that there is no reason to deceive ourselves with pretty stories for which there's little good evidence. Far better, it seems to me, in our vulnerability, is to look Death in the eye and to be grateful every day for the brief but magnificent opportunity that life provides.

Some sleepers have intelligent faces even in sleep, while other faces, even intelligent ones, become very stupid in sleep and therefore ridiculous. I don't know what makes that happen; I only want to say that a laughing man, like a sleeping one, most often knows nothing about his face. A great many people don't know how to laugh at all. However, there's nothing to know here: it's a gift, and it can't be fabricated. It can only be fabricated by re-educating oneself, developing oneself for the better, and overcoming the bad instincts of one's character; then the laughter of such a person might quite possibly change for the better. A man can give himself away completely by his laughter, so that you suddenly learn all of his innermost secrets. Even indisputably intelligent laughter is sometimes repulsive. Laughter calls first of all for sincerity, and where does one find sincerity? Laughter calls for lack of spite, but people most often laugh spitefully. Sincere and unspiteful laughter is mirth. A man's mirth is a feature that gives away the whole man, from head to foot. Someone's character won't be cracked for a long time, then the man bursts out laughing somehow quite sincerely, and his whole character suddenly opens up as if on the flat of your hand. Only a man of the loftiest and happiest development knows how to be mirthful infectiously, that is, irresistibly and goodheartedly. I'm not speaking of his mental development, but of his character, of the whole man. And so, if you want to discern a man and know his soul, you must look, not at how he keeps silent, or how he speaks, or how he weeps, or even how he is stirred by the noblest ideas, but you had better look at him when he laughs. If a man has a good laugh, it means he's a good man. Note at the same time all the nuances: for instance, a man's laughter must in no case seem stupid to you, however merry and simplehearted it may be. The moment you notice the slightest trace of stupidity in someone's laughter, it undoubtedly means that the man is of limited intelligence, though he may do nothing but pour out ideas. Or if his laughter isn't stupid, but the man himself, when he laughs, for some reason suddenly seems ridiculous to you, even just slightly—know, then, that the man has no real sense of dignity, not fully in any case. Or finally, if his laughter is infectious, but for some reason still seems banal to you, know, then, that the man's nature is on the banal side as well, and all the noble and lofty that you noticed in him before is either deliberately affected or unconsciously borrowed, and later on the man is certain to change for the worse, to take up what's 'useful' and throw his noble ideas away without regret, as the errors and infatuations of youth.

If there is one thing developmental psychologists have learned over the years, it is that parents don’t have to be brilliant psychologists to succeed. They don’t have to be supremely gifted teachers. Most of the stuff parents do with flashcards and special drills and tutorials to hone their kids into perfect achievement machines don’t have any effect at all. Instead, parents just have to be good enough. They have to provide their kids with stable and predictable rhythms. They need to be able to fall in tune with their kids’ needs, combining warmth and discipline. They need to establish the secure emotional bonds that kids can fall back upon in the face of stress. They need to be there to provide living examples of how to cope with the problems of the world so that their children can develop unconscious models in their heads.

Your judgments about another person say more about your own character than the character of the person you are pointing a finger at. This is the key and one of the most fundamental insights about the ‘red flags’ that we often dismiss regarding the people in our lives. If someone complains a lot to you about other people, guess what? That is part of their current character. And, as quickly as the tide changes, you can just as easily become the person they target and criticize, point fingers at, and negatively judge. Forever and always, until vibrations are raised, this will be the cycle of the relationship. So, it’s your choice to continue to engage in the cycle with them, or to move on. There are plenty of people who do not criticize, point fingers, or judge. THIS is the kind of character we want to foster within ourselves. THIS is the character of the kind of people we DO want to develop close relationships with.

There is nothing so annoying as to be fairly rich, of a fairly good family, pleasing presence, average education, to be "not stupid," kindhearted, and yet to have no talent at all, no originality, not a single idea of one's own—to be, in fact, "just like everyone else." Of such people there are countless numbers in this world—far more even than appear. They can be divided into two classes as all men can—that is, those of limited intellect, and those who are much cleverer. The former of these classes is the happier. To a commonplace man of limited intellect, for instance, nothing is simpler than to imagine himself an original character, and to revel in that belief without the slightest misgiving. Many of our young women have thought fit to cut their hair short, put on blue spectacles, and call themselves Nihilists. By doing this they have been able to persuade themselves, without further trouble, that they have acquired new convictions of their own. Some men have but felt some little qualm of kindness towards their fellow-men, and the fact has been quite enough to persuade them that they stand alone in the van of enlightenment and that no one has such humanitarian feelings as they. Others have but to read an idea of somebody else's, and they can immediately assimilate it and believe that it was a child of their own brain. The "impudence of ignorance," if I may use the expression, is developed to a wonderful extent in such cases;—unlikely as it appears, it is met with at every turn. ... those belonged to the other class—to the "much cleverer" persons, though from head to foot permeated and saturated with the longing to be original. This class, as I have said above, is far less happy. For the "clever commonplace" person, though he may possibly imagine himself a man of genius and originality, none the less has within his heart the deathless worm of suspicion and doubt; and this doubt sometimes brings a clever man to despair. (As a rule, however, nothing tragic happens;—his liver becomes a little damaged in the course of time, nothing more serious. Such men do not give up their aspirations after originality without a severe struggle,—and there have been men who, though good fellows in themselves, and even benefactors to humanity, have sunk to the level of base criminals for the sake of originality)

Theirs was that substantial affection which arises (if any arises at all) when the two who are thrown together begin first by knowing the rougher sides of each other's character, and not the best till further on, the romance growing up in the interstices of a mass of hard prosaic reality. This good-fellowship—camaraderie—usually occurring through similarity of pursuits, is unfortunately seldom superadded to love between the sexes, because men and women associate, not in their labours, but in their pleasures merely. Where, however, happy circumstance permits its development, the compounded feeling proves itself to be the only love which is strong as death—that love which many waters cannot quench, nor the floods drown, beside which the passion usually called by the name is evanescent as steam.

It is very difficult to develop a proper sense of self-esteem in a dysfunctional family. Having very little self-worth, looking at one’s own character defects becomes so overwhelming there is no room for inward focus. People so afflicted think: “I need to keep you from knowing me. I have already rejected me, but if you knew how flawed I am, you would also reject me…and since this is all I have, I could not stand any more rejection. I am not worthy of someone understanding me so you will not get the chance...so I must judge, reject, attack, and/or find fault with you. I don’t accept me so how can I accept you?

Interviewer ...In the case of "American Psycho" I felt there was something more than just this desire to inflict pain--or that Ellis was being cruel the way you said serious artists need to be willing to be. DFW: You're just displaying the sort of cynicism that lets readers be manipulated by bad writing. I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what's always distinguished bad writing -- flat characters, a narrative world that's cliched and not recognizably human, etc. -- is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend "Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.

Let us define our terms. A woman who writes her lover four letters a day is not a graphomaniac, she is simply a woman in love. But my friend who xeroxes his love letters so he can publish them someday--my friend is a graphomaniac. Graphomania is not a desire to write letters, diaries, or family chronicles (to write for oneself or one's immediate family); it is a desire to write books (to have a public of unknown readers). In this sense the taxi driver and Goethe share the same passion. What distinguishes Goethe from the taxi driver is the result of the passion, not the passion itself. "Graphomania (an obsession with writing books) takes on the proportions of a mass epidemic whenever a society develops to the point where it can provide three basic conditions: 1. a high degree of general well-being to enable people to devote their energies to useless activities; 2. an advanced state of social atomization and the resultant general feeling of the isolation of the individual; 3. a radical absence of significant social change in the internal development of the nation. (In this connection I find it symptomatic that in France, a country where nothing really happens, the percentage of writers is twenty-one times higher than in Israel. Bibi [character from the book] was absolutely right when she claimed never to have experienced anything from the outside. It is this absence of content, this void, that powers the moter driving her to write). "But the effect transmits a kind of flashback to the cause. If general isolation causes graphomania, mass graphomania itself reinforces and aggravates the feeling of general isolation. The invention of printing originally promoted mutual understanding. In the era of graphomania the writing of books has the opposite effect: everyone surrounds himself with his own writings as with a wall of mirrors cutting off all voices from without.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

The night before brain surgery, I thought about death. I searched out my larger values, and I asked myself, if I was going to die, did I want to do it fighting and clawing or in peaceful surrender? What sort of character did I hope to show? Was I content with myself and what I had done with my life so far? I decided that I was essentially a good person, although I could have been better--but at the same time I understood that the cancer didn't care. I asked myself what I believed. I had never prayed a lot. I hoped hard, I wished hard, but I didn't pray. I had developed a certain distrust of organized religion growing up, but I felt I had the capacity to be a spiritual person, and to hold some fervent beliefs. Quite simply, I believed I had a responsibility to be a good person, and that meant fair, honest, hardworking, and honorable. If I did that, if I was good to my family, true to my friends, if I gave back to my community or to some cause, if I wasn't a liar, a cheat, or a thief, then I believed that should be enough. At the end of the day, if there was indeed some Body or presence standing there to judge me, I hoped I would be judged on whether I had lived a true life, not on whether I believed in a certain book, or whether I'd been baptized. If there was indeed a God at the end of my days, I hoped he didn't say, 'But you were never a Christian, so you're going the other way from heaven.' If so, I was going to reply, 'You know what? You're right. Fine.' I believed, too, in the doctors and the medicine and the surgeries--I believed in that. I believed in them. A person like Dr. Einhorn [his oncologist], that's someone to believe in, I thought, a person with the mind to develop an experimental treatment 20 years ago that now could save my life. I believed in the hard currency of his intelligence and his research. Beyond that, I had no idea where to draw the line between spiritual belief and science. But I knew this much: I believed in belief, for its own shining sake. To believe in the face of utter hopelessness, every article of evidence to the contrary, to ignore apparent catastrophe--what other choice was there? We do it every day, I realized. We are so much stronger than we imagine, and belief is one of the most valiant and long-lived human characteristics. To believe, when all along we humans know that nothing can cure the briefness of this life, that there is no remedy for our basic mortality, that is a form of bravery. To continue believing in yourself, believing in the doctors, believing in the treatment, believing in whatever I chose to believe in, that was the most important thing, I decided. It had to be. Without belief, we would be left with nothing but an overwhelming doom, every single day. And it will beat you. I didn't fully see, until the cancer, how we fight every day against the creeping negatives of the world, how we struggle daily against the slow lapping of cynicism. Dispiritedness and disappointment, these were the real perils of life, not some sudden illness or cataclysmic millennium doomsday. I knew now why people fear cancer: because it is a slow and inevitable death, it is the very definition of cynicism and loss of spirit. So, I believed.

Now, my dear little girl, you have come to an age when the inward life develops and when some people (and on the whole those who have most of a destiny) find that all is not a bed of roses. Among other things there will be waves of terrible sadness, which last sometimes for days; irritation, insensibility, etc., etc., which taken together form a melancholy. Now, painful as it is, this is sent to us for an enlightenment. It always passes off, and we learn about life from it, and we ought to learn a great many good things if we react on it right. (For instance, you learn how good a thing your home is, and your country, and your brothers, and you may learn to be more considerate of other people, who, you now learn, may have their inner weaknesses and sufferings, too.) Many persons take a kind of sickly delight in hugging it; and some sentimental ones may even be proud of it, as showing a fine sorrowful kind of sensibility. Such persons make a regular habit of the luxury of woe. That is the worst possible reaction on it. It is usually a sort of disease, when we get it strong, arising from the organism having generated some poison in the blood; and we mustn't submit to it an hour longer than we can help, but jump at every chance to attend to anything cheerful or comic or take part in anything active that will divert us from our mean, pining inward state of feeling. When it passes off, as I said, we know more than we did before. And we must try to make it last as short as time as possible. The worst of it often is that, while we are in it, we don't want to get out of it. We hate it, and yet we prefer staying in it—that is a part of the disease. If we find ourselves like that, we must make something ourselves to some hard work, make ourselves sweat, etc.; and that is the good way of reacting that makes of us a valuable character. The disease makes you think of yourself all the time; and the way out of it is to keep as busy as we can thinking of things and of other people—no matter what's the matter with our self.

Those things which we call extraordinary,remarkable, or unusual may make history, but they do not make real life. After all, to do well those things which God ordained to be the common lot of all mankind, is the truest greatness. To be a successful father or a successful mother is greater than to be a successful general or a successful statesman.’ (Juvenile Instructor, 15 Dec. 1905, p. 752.) . . . True greatness is never a result of a chance occurrence or a one-time effort or achievement. It requires the development of character. It requires a multitude of correct decisions for the everyday choices between good and evil.

Fast reading of a great novel will get us the plot. It will get us names, a shadowy idea of characters, a sketch of settings. It will not get us subtleties, small differentiations, depth of emotion and observation, multilayered human experience, the appreciation of simile and metaphor, any sense of context, any comparison with other novels, other writers. Fast reading will not get us cadence and complexities of style and language. It will not get us anything that enters not just the conscious mind but the unconscious. It will not allow the book to burrow down into our memory and become part of ourselves, the accumulation of knowledge and wisdom and vicarious experience which helps to form us as complete human beings. It will not develop our awareness or add to the sum of our knowledge and intelligence. Read parts of a newspaper quickly or an encyclopaedia entry, or a fast-food thriller, but do not insult yourself or a book which has been created with its author's painstakingly acquired skill and effort, by seeing how fast you can dispose of it.

When, in the course of development, class distinctions have disappeared and all production has been concentrated in the hands of a vast association of the whole nation, the public power will lose its political character. Political power, properly so called, is merely the organized power of one class for oppressing another. If the proletariat during its contest with the bourgeoisie is compelled, by the force of circumstances, to organize itself as a class, if, by means of a revolution, it makes itself the ruling class, and, as such, sweeps away by force the old conditions of production then it will, along with these conditions, have swept away the conditions for the existence of class antagonisms, and of classes generally, and will thereby have abolished its own supremacy as a class. In place of the old bourgeois society with its classes and class antagonisms we shall have an association in which the free development of each is the condition for the free development of all.

The little girl’s sense of secrecy that developed at prepuberty only grows in importance. She closes herself up in fierce solitude: she refuses to reveal to those around her the hidden self that she considers to be her real self and that is in fact an imaginary character: she plays at being a dancer like Tolstoy’s Natasha, or a saint like Marie Leneru, or simply the singular wonder that is herself. There is still an enormous difference between this heroine and the objective face that her parents and friends recognise in her. She is also convinced that she is misunderstood: her relationship with herself becomes even more passionate: she becomes intoxicated with her isolation, feels different, superior, exceptional: she promises that the future will take revenge on the mediocrity of her present life. From this narrow and petty existence she escapes by dreams.

They spoke very little of their mutual feeling; pretty phrases and warm expressions being probably unnecessary between such tried friends. Theirs was that substantial affection which arises (if any arises at all) when the two who are thrown together begin first by knowing the rougher sides of each other's character, and not the best till further on, the romance growing up in the interstices of a mass of hard prosaic reality. This good-fellowship—camaraderie—usually occurring through similarity of pursuits, is unfortunately seldom superadded to love between the sexes, because men and women associate, not in their labours, but in their pleasures merely. Where, however, happy circumstance permits its development, the compounded feeling proves itself to be the only love which is strong as death—that love which many waters cannot quench, nor the floods drown, beside which the passion usually called by the name is evanescent as steam.

What is my life for and what am I going to do with it? I don't know and I'm afraid. I can never read all the books I want; I can never be all the people I want and live all the lives I want. I can never train myself in all the skills I want. And why do I want? I want to live and feel all the shades, tones, and variations of mental and physical experience possible in my life. And I am horribly limited. Yet I am not a cretin: lame, blind and stupid. I am not a veteran, passing my legless, armless days in a wheelchair. I am not that mongoloidish old man shuffling out of the gates of the mental hospital. I have much to live for, yet unaccountably I am sick and sad. Perhaps you could trace my feeling back to my distaste at having to choose between alternatives. Perhaps that's why I want to be everyone - so no one can blame me for being I. So I won't have to take the responsibility for my own character development and philosophy. People are happy - - - if that means being content with your lot: feeling comfortable as the complacent round peg struggling in a round hole, with no awkward or painful edges - no space to wonder or question in. I am not content, because my lot is limiting, as are all others. People specialize; people become devoted to an idea; people "find themselves.

Politicians in our times feed their clichés to television, where even those who wish to disagree repeat them. Television purports to challenge political language by conveying images, but the succession from one frame to another can hinder a sense of resolution. Everything happens fast, but nothing actually happens. Each story on televised news is ”breaking” until it is displaced by the next one. So we are hit by wave upon wave but never see the ocean. The effort to define the shape and significance of events requires words and concepts that elude us when we are entranced by visual stimuli. Watching televised news is sometimes little more than looking at someone who is also looking at a picture. We take this collective trance to be normal. We have slowly fallen into it. More than half a century ago, the classic novels of totalitarianism warned of the domination of screens, the suppression of books, the narrowing of vocabularies, and the associated difficulties of thought. In Ray Bradbury’s Fahrenheit 451, published in 1953, firemen find and burn books while most citizens watch interactive television. In George Orwell’s 1984, published in 1949, books are banned and television is two-way, allowing the government to observe citizens at all times. In 1984, the language of visual media is highly constrained, to starve the public of the concepts needed to think about the present, remember the past, and consider the future. One of the regime’s projects is to limit the language further by eliminating ever more words with each edition of the official dictionary. Staring at screens is perhaps unavoidable, but the two-dimensional world makes little sense unless we can draw upon a mental armory that we have developed somewhere else. When we repeat the same words and phrases that appear in the daily media, we accept the absence of a larger framework. To have such a framework requires more concepts, and having more concepts requires reading. So get the screens out of your room and surround yourself with books. The characters in Orwell’s and Bradbury’s books could not do this—but we still can.

In earlier times, one had an easier conscience about being a person than one does today. People were like cornstalks in a field, probably more violently tossed back and forth by God, hail, fire, pestilence, and war than they are today, but as a whole, as a city, a region, a field, and as to what personal movement was left to the individual stalk – all this was clearly defined and could be answered for. But today responsibility’s center of gravity is not in people but in circumstances. Have we not noticed that experiences have made themselves independent of people? They have gone on the stage, into books, into the reports of research institutes and explorers, into ideological or religious communities, which foster certain kinds of experience at the expense of others as if they are conducting a kind of social experiment, and insofar as experiences are not actually being developed, they are simply left dangling in the air. Who can say nowadays that his anger is really his own anger when so many people talk about it and claim to know more about it than he does? A world of qualities without a man has arisen, of experiences without the person who experiences them, and it almost looks as though ideally private experience is a thing of the past, and that the friendly burden of personal responsibility is to dissolve into a system of formulas of possible meanings. Probably the dissolution of the anthropocentric point of view, which for such a long time considered man to be at the center of the universe but which has been fading away for centuries, has finally arrived at the “I” itself, for the belief that the most important thing about experience is the experiencing, or of action the doing, is beginning to strike most people as naïve. There are probably people who still lead personal lives, who say “We saw the So-and-sos yesterday” or “We’ll do this or that today” and enjoy it without its needing to have any content of significance. They like everything that comes in contact with their fingers, and are purely private persons insofar as this is at all possible. In contact with such people, the world becomes a private world and shines like a rainbow. They may be very happy, but this kind of people usually seems absurd to the others, although it is still not at all clear why. And suddenly, in view of these reflections, Ulrich had to smile and admit to himself that he was, after all, a character, even without having one.

Reminiscing in the drizzle of Portland, I notice the ring that’s landed on your finger, a massive insect of glitter, a chandelier shining at the end of a long tunnel. Thirteen years ago, you hid the hurt in your voice under a blanket and said there’s two kinds of women—those you write poems about and those you don’t. It’s true. I never brought you a bouquet of sonnets, or served you haiku in bed. My idea of courtship was tapping Jane’s Addiction lyrics in Morse code on your window at three A.M., whiskey doing push-ups on my breath. But I worked within the confines of my character, cast as the bad boy in your life, the Magellan of your dark side. We don’t have a past so much as a bunch of electricity and liquor, power never put to good use. What we had together makes it sound like a virus, as if we caught one another like colds, and desire was merely a symptom that could be treated with soup and lots of sex. Gliding beside you now, I feel like the Benjamin Franklin of monogamy, as if I invented it, but I’m still not immune to your waterfall scent, still haven’t developed antibodies for your smile. I don’t know how long regret existed before humans stuck a word on it. I don’t know how many paper towels it would take to wipe up the Pacific Ocean, or why the light of a candle being blown out travels faster than the luminescence of one that’s just been lit, but I do know that all our huffing and puffing into each other’s ears—as if the brain was a trick birthday candle—didn’t make the silence any easier to navigate. I’m sorry all the kisses I scrawled on your neck were written in disappearing ink. Sometimes I thought of you so hard one of your legs would pop out of my ear hole, and when I was sleeping, you’d press your face against the porthole of my submarine. I’m sorry this poem has taken thirteen years to reach you. I wish that just once, instead of skidding off the shoulder blade’s precipice and joyriding over flesh, we’d put our hands away like chocolate to be saved for later, and deciphered the calligraphy of each other’s eyelashes, translated a paragraph from the volumes of what couldn’t be said.