Characters Famous Quotes

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

The question we need to ask ourselves is: what is success to us? More money? That's fine. A healthy family? A happy marriage? Helping others? To be famous? Spiritually sound? To express ourselves? To create art? To leave the world a better place than we found it? What is success to me? Continue to ask yourself that question. How are you prosperous? What is your relevance? Your answer may change over time and that's fine but do yourself this favor – whatever your answer is, don't choose anything that would jeopardize your soul. Prioritize who you are, who you want to be, and don't spend time with anything that antagonizes your character. Don't depend on drinking the Kool-Aid – it's popular, tastes sweet today, but it will give you cavities tomorrow. Life is not a popularity contest. Be brave, take the hill. But first answer the question.

To leave the marriage behind is to step out of the spotlight. It means fading into normalcy, returning to ordinary life, perhaps an impossible admission for women who have built their egos on being one member of a powerful team. To divorce might be to admit defeat for women who have come to see themselves as extraordinary and who circulate with other famous and history-making figures.

After graduation, due to special circumstances and perhaps also to my character, I began to travel throughout America, and I became acquainted with all of it. Except for Haiti and Santo Domingo, I have visited, to some extent, all the other Latin American countries. Because of the circumstances in which I traveled, first as a student and later as a doctor, I came into close contact with poverty, hunger and disease; with the inability to treat a child because of lack of money; with the stupefaction provoked by the continual hunger and punishment, to the point that a father can accept the loss of a son as an unimportant accident, as occurs often in the downtrodden classes of our American homeland. And I began to realize at that time that there were things that were almost as important to me as becoming famous for making a significant contribution to medical science: I wanted to help those people.

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.

I'm not named after the character,' she said. 'I'm named after the entire opera.

A memory came to me. One time, in middle school, a famous author came to talk to our class and give a writing workshop. One of the things she told us about writing a novel was that the story should be about what the main character wants. Dorothy wants to go home to Kansas. George Milton wants a farm of his own. Amelia Sedley wants to marry her darling George and live happily ever after. The end of the story, according to the famous author, is when the character either gests what he wants or realizes he’s never going to get it. Or sometimes, she said, like Scarlett O’Hara in Gone With the Wind, realizes she doesn’t actually want what she thought she wanted all along. pg. 324 of Bewitching

IP is an intangible asset—an idea converted into transferable personal property rights through patents, trademarks, copyrights, service marks, and trade secrets. IP covers every famous animated character you’ve ever heard of, the logos on your clothing. IP covers products and services you use every day—from flashlights to mobile phones, packaging to cars, food and beverage products, to smart thermostats. IP is not only for big businesses. Most start-ups and event microbusinesses have IP of some kind. 

The man I am writing about is not famous. It may be that he never will be. It may be that when his life at last comes to an end he will leave no more trace of his sojourn on earth than a stone thrown into a river leaves on the surface of the water. But it may be that the way of life that he has chosen for himself and the peculiar strength and sweetness of his character may have an ever-growing influence over his fellow men so that, long after his death perhaps, it may be realized that there lived in this age a very remarkable creature.

You have been reading Byron. You have been marking the passages that seem to approve of your own character. I find marks against all those sentences which seem to express a sardonic yet passionate nature; a moth-like impetuosity dashing itself against hard glass. You thought, as you drew your pencil there, "I too throw off my cloak like that. I too snap my fingers in the face of destiny". Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table - it is running among your books and papers. Now you mop it up, clumsily, with your pocket-handkerchief. You then stuff your handkerchief back into your pocket - that is not Byron; that is you; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.

And the most glorious exploits do not always furnish us with the clearest discoveries of virtue or vice in men; sometimes a matter of less moment, an expression or a jest, informs us better of their characters and inclinations, than the most famous sieges, the greatest armaments, or the bloodiest battles whatsoever. Therefore as portrait-painters are more exact in the lines and features of the face, in which the character is seen, than in the other parts of the body, so I must be allowed to give my more particular attention to the marks and indications of the souls of men, and while I endeavor by these to portray their lives, may be free to leave more weighty matters and great battles to be treated of by others.

I read a book one day and my whole life was changed” starts Orhan Pamuk to his famous and brilliantly written book: The New Life. Some books just strike you with the very first sentence, and generally those are the ones that leave a mark in your memory and soul, the ones that make you read, come back many years later and read again, and have the same pleasure each time. I was lucky enough to have a father who was passionate about literature, so passionate that he would teach me how to read at the age of five. The very first book he bought for me was “The Little Black Fish” by Samad Behrangi. After that I started reading his other books, and at that age I had already owned a small Behrangi collection. Recently I was talking with a Persian friend about how Behrangi and his books changed my life. A girl, from another country, from kilometeters away, around the same time was also reading Behrangi’s books, and creating her own imaginary worlds with his rich and deep characters, and intense stories.

In life, the visible surface of the Sperm Whale is not the least among the many marvels he presents. Almost invariably it is all over obliquely crossed and re-crossed with numberless straight marks in thick array, something like those in the finest Italian line engravings. But these marks do not seem to be impressed upon the isinglass substance above mentioned, but seem to be seen through it, as if they were engraved upon the body itself. Nor is this all. In some instances, to the quick, observant eye, those linear marks, as in a veritable engraving, but afford the ground for far other delineations. These are hieroglyphical; that is, if you call those mysterious cyphers on the walls of pyramids hieroglyphics, then that is the proper word to use in the present connexion. By my retentive memory of the hieroglyphics upon one Sperm Whale in particular, I was much struck with a plate representing the old Indian characters chiselled on the famous hieroglyphic palisades on the banks of the Upper Mississippi. Like those mystic rocks, too, the mystic-marked whale remains undecipherable.

The plan, which I really hope I fulfilled, is that the reader, like Harry, would gradually discover Ginny as pretty much the ideal girl for Harry. She’s tough, not in an unpleasant way, but she’s gutsy. He needs to be with someone who can stand the demands of being with Harry Potter, because he’s a scary boyfriend in a lot of ways. He’s a marked man. I think she’s funny, and I think that she’s very warm and compassionate. These are all things that Harry requires in his ideal woman…. Initially, she’s terrified by his image. I mean, he’s a bit of a rock god to her when she sees him first, at 10 or 11, and he’s this famous boy. So Ginny had to go through a journey… I didn’t want Ginny to be the first girl that Harry ever kissed. That’s something I meant to say, and it’s kind of tied in…. And I feel that Ginny and Harry, in this book, they are total equals. They are worthy of each other. They’ve both gone through a big emotional journey, and they’ve really got over a lot of delusions together. So, I enjoyed writing that. I really like Ginny as a character.

I found out that the giant’s famous chant—Fee, fi, fo, fum, I smell the blood of an Englishman—was cribbed from King Lear, where a character named Edgar says, Child Roland to the dark tower came, His word was still Fie, foh, and fum, I smell the blood of a British man.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!

What can I possibly have in common with perpetrators of murder and torture?” It is much more reassuring to believe that they are evil and be done with them.14 We dare not let a glimmer of their humanity in the door, because it might force us to face the haunting truth of cartoonist Walt Kelly’s great character Pogo, who famously said: “We have met the enemy and he is us.

Genius' was a word loosely used by expatriot Americans in Paris and Rome, between the Versailles Peace treaty and the Depression, to cover all varieties of artistic, literary and musical experimentalism. A useful and readable history of the literary Thirties is Geniuses Together by Kay Boyle-Joyce, Hemingway, Scott Fitzgerald, Pound, Eliot and the rest. They all became famous figures but too many of them developed defects of character-ambition, meanness, boastfulness, cowardice or inhumanity-that defrauded their early genius. Experimentalism is a quality alien to genius. It implies doubt, hope, uncertainty, the need for group reassurance; whereas genius works alone, in confidence of a foreknown result. Experiments are useful as a demonstration of how not to write, paint or compose if one's interest lies in durable rather than fashionable results; but since far more self-styled artists are interested in frissons á la mode rather than in truth, it is foolish to protest. Experimentalism means variation on the theme of other people's uncertainties.

I don’t have any regrets,” a famous movie actor said in an interview I recently witnessed. “I’d live everything over exactly the same way.” “That’s really pathetic,” the talk show host said. “Are you seeking help?” “Yeah. My shrink says we’re making progress. Before, I wouldn’t even admit that I would live it all over,” the actor said, starting to choke up. “I thought one life was satisfying enough.” “My God,” the host said, cupping his hand to his mouth. “The first breakthrough was when I said I would live it over, but only in my dreams. Nocturnal recurrence.” “You’re like the character in that one movie of yours. What’s it called? You know, the one where you eat yourself.” “The Silence of Sam.” “That’s it. Can you do the scene?” The actor lifts up his foot to stick it in his mouth. I reach over from my seat and help him to fit it into his bulging cheeks. The audience goes wild.

A further reason for my hatred of . . . ideologies is quite a primitive one. I have an aversion to killing people for the fun of it. What the fun is, I did not quite understand at the time, but in the intervening years the ample exploration of revolutionary consciousness has cast some light on this matter. The fun consists in gaining a pseudo-identity through asserting one's power, optimally by killing somebody—a pseudo-identity that serves as a substitute for the human self that has been lost. . . . A good example of the type of self that has to kill other people in order to regain in an Ersatzform what it has lost is the famous Saint-Juste, who says that Brutus either has to kill other people or kill himself. . . . . I have no sympathy whatsoever with such characters and have never hesitated to characterize them as "murderous swine.

When Kate was younger, stories were her friends when she found people challenging. She searched them out, hiding among them in the library and tucking herself into their pages. She folded herself into the shape of Hermione Granger or George from The Famous Five or Catherine Moreland from Northanger Abbey and tried to be them for a day. When she started secondary school her friends were the characters she met in the pages of her books. They sat with her in the library as she snuck mouthfuls of sandwich behind books so the librarian wouldn't see. (The librarian always saw, but pretended not to.)

We lived in a me-first world obsessed with morally inconsequential celebrities of dubious motivations and shallow character. How or why these people had become famous, or why they would be emulated and their every word newsworthy, no one of common sense could explain. The world had seemingly gone mad, and anyone pointing this out was reviled and mocked.

My last name is Poirot, like Agatha Christie's famous detective Hercule Poirot; no relation to the fictional character.

Quite openly, voters selected on the basis of perceived character and past behaviour rather than the views a candidate expressed. Where an individual’s nature was not obvious, the Roman people tended to be drawn to a famous name, for there was a sense that virtue and ability were inherited.

Mademoiselle des Touches (Camille Maupin) is George Sand in character, and the personal description of her, though applied by some to the famous Mademoiselle Georges, is easily recognized from Couture’s drawing.

Is not he? I had him along for his books and potions, and kept him for his character. Profundities of disgruntled sentiments, injured spirits, wounded affection, bitterness, marginality, disdain of establishment—I knew we should get on famously.

Mai had an unholy obsession with eighties fantasy movies. Labyrinth was her favorite. She was madly in lust with David Bowie’s character, Jareth the Goblin King, who was famous for his tight tights, smoldering stares and a very, ahem, generous codpiece.

Every man, the moment he takes his eye off God, has failed. Every man has been a failure at some period of his life. Abraham failed. Moses failed. Elijah failed. Take the men that have become so famous and that were so mighty—the moment they got their eye off God, they were weak like other men; and it is a very singular thing that those men failed on the strongest point in their character. I suppose it was because they were not on the watch. Abraham

When I like a black person, they dislike me. When I like a white person, they despise me. When I like a mixed person, they harass me. When I like an illiterate person, they revile me. When I like an educated person, they attack me. When I like a weak person, they berate me. When I like a strong person, they condemn me. When I like a lowly person, they denounce me. When I like an eminent person, they renounce me. When I like a famous person, they disparage me. When I like a rich person, they trouble me. When I like a poor person, they hassle me. When I like an obscure person, they pester me. When I like a young person, they deride me. When I like an old person, they hate me. When I like myself, they slander me. Age doesn't separate us, maturity does. Ethnicity doesn't separate us, prejudice does. Tradition doesn't separate us, bigotry does. Ancestry doesn't separate us, character does. Religion doesn't separate us, ignorance does. Tribe doesn't separate us, intolerance does. Culture doesn't separate us, misunderstanding does. Sex doesn't separate us, bias does. Race doesn't separate us, injustice does. Class doesn't separate us, poverty does. Politics doesn't separate us, corruption does. Gender doesn't separate us, mentality does. Wealth doesn't separate us, greed does. Appearance doesn't separate us, attitude does. Power doesn't separate us, ambition does. Fame doesn't separate us, ego does.

If you have influence on other people. Dont be influenced by their hate, money, jealousy, anger and popularity .

Mr. Morris's poem is ushered into the world with a very florid birthday speech from the pen of the author of the too famous Poems and Ballads,—a circumstance, we apprehend, in no small degree prejudicial to its success. But we hasten to assure all persons whom the knowledge of Mr. Swinburne's enthusiasm may have led to mistrust the character of the work, that it has to our perception nothing in common with this gentleman's own productions, and that his article proves very little more than that his sympathies are wiser than his performance. If Mr. Morris's poem may be said to remind us of the manner of any other writer, it is simply of that of Chaucer; and to resemble Chaucer is a great safeguard against resembling Swinburne.

Then Gai told me about the famous cup of the heart, which I should now begin to empty. The Sufis compare our spiritual heart, the seat of God within us, with a cup into which the love of God flows. This cup, however, needs to be emptied before it can be filled with Divine love. This emptying is a long process that requires courage, strength of character, determination, and, above all, sincerity. It is a process of reining in and eventually extinguishing the ego, of letting go of material needs, bad and unhealthy habits and emotional attachments in order to make room for God. Sufis often likened it to the process of dying and being born again. ‘Die before you die’ is a famous Sufi saying. This was the essence of every spiritual path, Gai told me.

What’s he doing?” Raine asked. “He’s not talking to me.” “Grab him by the nuts and twist.” I glared at her over my laptop. To us, our characters were real, living, breathing people that sometimes didn’t cooperate. There was a famous quote that being a write was an acceptable form of schizophrenia. It was absolutely true. The voices never stopped, except when they were being jerks.

In 1908, in a wild and remote area of the North Caucasus, Leo Tolstoy, the greatest writer of the age, was the guest of a tribal chief “living far away from civilized life in the mountains.” Gathering his family and neighbors, the chief asked Tolstoy to tell stories about the famous men of history. Tolstoy told how he entertained the eager crowd for hours with tales of Alexander, Caesar, Frederick the Great, and Napoleon. When he was winding to a close, the chief stood and said, “But you have not told us a syllable about the greatest general and greatest ruler of the world. We want to know something about him. He was a hero. He spoke with a voice of thunder; he laughed like the sunrise and his deeds were strong as the rock….His name was Lincoln and the country in which he lived is called America, which is so far away that if a youth should journey to reach it he would be an old man when he arrived. Tell us of that man.” “I looked at them,” Tolstoy recalled, “and saw their faces all aglow, while their eyes were burning. I saw that those rude barbarians were really interested in a man whose name and deeds had already become a legend.” He told them everything he knew about Lincoln’s “home life and youth…his habits, his influence upon the people and his physical strength.” When he finished, they were so grateful for the story that they presented him with “a wonderful Arabian horse.” The next morning, as Tolstoy prepared to leave, they asked if he could possibly acquire for them a picture of Lincoln. Thinking that he might find one at a friend’s house in the neighboring town, Tolstoy asked one of the riders to accompany him. “I was successful in getting a large photograph from my friend,” recalled Tolstoy. As he handed it to the rider, he noted that the man’s hand trembled as he took it. “He gazed for several minutes silently, like one in a reverent prayer, his eyes filled with tears.” Tolstoy went on to observe, “This little incident proves how largely the name of Lincoln is worshipped throughout the world and how legendary his personality has become. Now, why was Lincoln so great that he overshadows all other national heroes? He really was not a great general like Napoleon or Washington; he was not such a skilful statesman as Gladstone or Frederick the Great; but his supremacy expresses itself altogether in his peculiar moral power and in the greatness of his character. “Washington was a typical American. Napoleon was a typical Frenchman, but Lincoln was a humanitarian as broad as the world. He was bigger than his country—bigger than all the Presidents together. “We are still too near to his greatness,” Tolstoy concluded, “but after a few centuries more our posterity will find him considerably bigger than we do. His genius is still too strong and too powerful for the common understanding, just as the sun is too hot when its light beams directly on us.

What benefit have the Hindus derived from their contact with Christian nations? The idea generally prevalent in this country about the morality and truthfulness of the Hindus evidently has been very low. Such seeds of enmity and hatred have been sown by the missionaries that it would be an almost Herculean task to establish better relations between India and America... If we examine Greek, Chinese, Persian, or Arabian writings on the Hindus, before foreigners invaded India, we find an impartial description of their national character. Megasthenes, the famous Greek ambassador, praises them for their love of truth and justice, for the absence of slavery, and for the chastity of their women. Arrian, in the second century, Hiouen-thsang, the famous Buddhist pilgrim in the seventh century, Marco Polo in the thirteenth century, have written in highest terms of praise of Hindu morality. The literature and philosophy of Ancient India have excited the admiration of all scholars, except Christian missionaries.

Ludwig Feuerbach says a wonderful thing about baptism. I have it marked. He says, ‘Water is the purest, clearest of liquids; in virtue of this, its natural character, it is the image of the spotless nature of the Divine Spirit. In short, water has a significance in itself, as water; it is on account of its natural quality that it is consecrated and selected as the vehicle of the Holy Spirit. So far there lies at the foundation of Baptism a beautiful, profound natural significance.’ Feuerbach is a famous atheist, but he is about as good on the joyful aspects of religion as anybody, and he loves the world.

David was the son of a famous Venetian rabbi. From his youth he had been accustomed to debate good principles and right conduct with all sorts of grave Jewish persons. These conversations had formed his own character and he naturally supposed that a small measure of the same could not help but improve other people's. In short he had come to believe that if only one talks long enough and expresses oneself properly, it is perfectly possible to argue people into being good and happy. With this aim in mind he generally took it upon himself to quarrel with Tom Brightwind several times a week -- all without noticeable effect.

People who are seeking to get famous need to ask themselves one question. Do I have depth of character? It doesn't matter whether you are just a girl, trying to sell your body to the masses, or a genius undiscovered writer.

In a 1959 speech in Indianapolis, John F. Kennedy famously observed that the Chinese word for 'crisis' is composed of two characters, one meaning danger and the other meaning opportunity. It turns out that this is not literally true.

Didn’t Notai ships usually have long names? Like Ineluctable Ascendancy of Mind Unfolding or The Finite Contains the Infinite Contains the Finite?” Both of those ship names were fictional, characters in more or less famous melodramatic entertainments.

The seeds of our own destruction are often sown at birth or in childhood. We are too busy acquiring knowledge and living life to notice their presence. It is for our biographers, if we are of sufficient importance to have any, to highlight them to a post-mortem audience.

the hieroglyphics upon one Sperm Whale in particular, I was much struck with a plate representing the old Indian characters chiselled on the famous hieroglyphic palisades on the banks of the Upper Mississippi. Like those mystic rocks, too, the mystic-marked whale remains undecipherable.

The famous axiom "Show, don't tell" is the key. Never force words into a character's mouth to tell the audience about world, history, or person. Rather, show us honest, natural scenes in which human beings talk and behave in honest, natural ways...yet at the same time indirectly pass along the necessary facts. In other words, dramatize exposition. Dramatized exposition serves two ends: Its primary purpose is to further the immediate conflict. Its secondary purpose is to convey information. The anxious novice reverses that order, putting expositional duty ahead of dramatic necessity.

There is a famous scene at the beginning of a Star Wars film, where the main character cuts open an animal to climb inside of it to so that he would survive extremely cold weather. People were shocked by this, and they should be. Do they not consider that wearing fur or leather is the same thing? Shenita Etwaroo

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.

As time passed there was no more buying food, no money, no supplies. On some days, we wouldn’t even have a crumb to eat. There’s a vivid scene in Nanni Loy’s The Four Days of Naples, a movie made after the war about the uprising of the Neapolitans against the occupying Germans, in which one of the young characters sinks his teeth into a loaf of bread so voraciously, so desperately, I can still identify with him. In those four famous days in late September, when Naples rose up against the Germans—even before the Allies arrived, it was the climax of a terrible period of deprivation and marked the beginning of the end of the war in Italy.

Social networking technology allows us to spend our time engaged in a hypercompetitive struggle for attention, for victories in the currency of “likes.” People are given more occasions to be self-promoters, to embrace the characteristics of celebrity, to manage their own image, to Snapchat out their selfies in ways that they hope will impress and please the world. This technology creates a culture in which people turn into little brand managers, using Facebook, Twitter, text messages, and Instagram to create a falsely upbeat, slightly overexuberant, external self that can be famous first in a small sphere and then, with luck, in a large one. The manager of this self measures success by the flow of responses it gets. The social media maven spends his or her time creating a self-caricature, a much happier and more photogenic version of real life. People subtly start comparing themselves to other people’s highlight reels, and of course they feel inferior.

In the Culture of Character, the ideal self was serious, disciplined, and honorable. What counted was not so much the impression one made in public as how one behaved in private. The word personality didn’t exist in English until the eighteenth century, and the idea of “having a good personality” was not widespread until the twentieth. But when they embraced the Culture of Personality, Americans started to focus on how others perceived them. They became captivated by people who were bold and entertaining. “The social role demanded of all in the new Culture of Personality was that of a performer,” Susman famously wrote. “Every American was to become a performing self.

These damsel in distress roles were very common in the 1940s. Superman had Lois Lane, Batman had Julie Madison, Captain Marvel had Beautia Sivana, the Flash had Joan Williams, and the Spirit had Ellen Dolan. These women weren’t particularly well-rounded characters. Instead, they were defined only through their male love interests, existing solely to be rescued,

I wandered back over to where Deborah stood, talking to Angel-no-relation. They both looked at me expectantly, but I had no readily available wit to offer, which was very much out of character. Happily for my world-famous reputation for permanently cheerful stoicism, before I could really turn gloomy, Deborah looked over my shoulder and snorted. “About fucking time.

Here again, she was amazingly clever. Without make-up of any kind, her features seemed to dissolve suddenly and re-form themselves into those of a famous politician, or a well-known actress, or a society beauty. In each character she gave a short typical speech. These speeches, by the way, were remarkably clever. They seemed to hit off every weakness of the subject selected.

The unexamined life is not worth living'...Socrates made provocative remarks like this famous one as part of his daily practice in Athens in the late fourth century B.C. When he made these statements, he was invariably exhorting his fellow Greeks to avoid falling into the trap of what we might call 'ethical complacency,' the point at which an individual ceases trying to become a better person.

For Hegel, reality is the absolute, which exists in a dialectical evolution that is logical and rational in character. According to his famous statement, everything that is real is rational and everything that is rational is real. Everything that exists is an element of this absolute, a stage in the dialectical evolution which culminates in philosophy, where the absolute spirit possesses itself in knowledge.

While altering the saga of Odysseus’s Return to make my Elyman suitors serve as Penelope’s lovers, I had to protect myself against scandal. What if someone recognized the story and supposed that I, Nausicaa the irreproachable, had played the promiscuous harlot in my father’s absence? So, according to my poem, Penelope must have remained faithful to Odysseus throughout those twenty years. And because this change meant that Aphrodite had failed to take her traditional revenge, I must make Poseidon, not her, the enemy who delayed him on his homeward voyage after the Fall of Troy. I should therefore have to omit the stories of Penelope’s banishment and the oar mistaken for a flail, and Odysseus’s death from Telemachus’s sting-ray spear. When I told Phemius of these decisions, he pointed out, rather nastily, that since Poseidon had fought for the Greeks against the Trojans, and since Odysseus had never failed to honour him, I must justify this enmity by some anecdote. “Very well,” I answered. “Odysseus blinded a Cyclops who, happening to be Poseidon’s son, prayed to him for vengeance.” “My dear Princess, every Cyclops in the smithies of Etna was born to Uranus, Poseidon’s grandfather, by Mother Earth.” “Mine was an exceptional Cyclops,” I snapped. “He claimed Poseidon as his father and kept sheep in a Sican cave, like Conturanus. I shall call him Polyphemus—that is, ‘famous’—to make my hearers think him a more important character than he really was.” “Such deceptions tangle the web of poetry.” “But if I offer Penelope as a shining example for wives to follow when their husbands are absent on long journeys, that will excuse the deception.

The famous speech Martin Luther King Jr. delivered on the steps of the Lincoln Memorial on August 28, 1963, included the sentence: "I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character". Today's left-wing, through identity politics, affirmative-action policies, and hiring quotas, has shattered that dream.

America had shifted from what the influential cultural historian Warren Susman called a Culture of Character to a Culture of Personality—and opened up a Pandora’s Box of personal anxieties from which we would never quite recover. In the Culture of Character, the ideal self was serious, disciplined, and honorable. What counted was not so much the impression one made in public as how one behaved in private. The word personality didn’t exist in English until the eighteenth century, and the idea of “having a good personality” was not widespread until the twentieth. But when they embraced the Culture of Personality, Americans started to focus on how others perceived them. They became captivated by people who were bold and entertaining. “The social role demanded of all in the new Culture of Personality was that of a performer,” Susman famously wrote. “Every American was to become a performing self.

In his famous book Man’s Search for Meaning, Viktor Frankl writes, “Man’s search for meaning is the primary motivation in his life.” He quotes Nietzsche’s words, “He who has a why to live for can bear with almost any how.” But then Frankl made a crucial, helpful point: It’s fruitless to try to think in the abstract about what life in general means. The meaning of one’s life is only discernible within the specific circumstances of one’s own specific life. In the concentration camp, he writes, “We had to learn ourselves and, furthermore, we had to teach the despairing men, that it did not really matter what we expected from life, but rather what life expected from us. We needed to stop asking the meaning of life, and instead to think of ourselves as those who were being questioned by life—daily and hourly. Our answer must consist, not in talk and meditation, but in right action and right conduct.

...most gentlemen of breeding considered themselves amateurs at all kinds of disciplines. Go all the way back to Jefferson, who collected fossils and wrote about botany and invented household tools and studied animals. He was an amateur anthropologist and even an amateur theologian who famously cut all the miracles out of the New Testament because he thought Jesus made a whole lot more sense without the supernatural material mucking up the good moral philosophy.

For a country that is famous for exporting democracy across the globe and has branded itself as the shining city on the hill, the United States has a shameful history when it comes to embracing one of its most basic rights at home. In 1787, when the founders ratified the Constitution, only white male property owners could vote in the eleven states of the Union. In 1865, at the end of the Civil War, black men could cast a ballot freely in only five states. Women couldn’t vote until 1920. The remarkably brief Reconstruction period of 1865–1877, when there were twenty-two black members of Congress from the South and six hundred black state legislators, was followed by ninety years of Jim Crow rule. The United States is the only advanced democracy that has ever enfranchised, disenfranchised, and then reenfranchised an entire segment of the population. Despite our many distinctions as a democracy, the enduring debate over who can and cannot participate in it remains a key feature of our national character.

Those who accuse these women of fraud in their image craft seem not to have heard of David Bowie's successful alter ego Ziggy Stardust or even Bob Dylan, the folksy creation of a genius named Robert Allen Zimmerman. There is a tradition of male artists taking on personae that are understood to be part of their art. It is as though there is so much genius within them that it must be split between these mortal men and the characters they create. Women who venture to do the same are ridiculed as fakers and try-hards.

In a famous passage, Mill explained Precisely because the tyranny of opinion is such as to make eccentricity a reproach, in order to break through that tyranny, that people should be eccentric. Eccentricity has always abounded when and where strength of character has abounded; and the amount of eccentricity in a society has generally been proportional to the amount of genius, mental vigour and moral courage which it contained. That so few now dare to be eccentric, marks the chief danger of the time. Yet, ironically, Mill himself could not tolerate unconventional men such as Comte, who often referred to himself as an 'eccentric thinker.

Here is the voice of my main Character in my Talon book series, I’ll let her introduce herself to you: My name is Matica and I am a special needs child with a growth disability. I am stuck in the body of a two year old, even though I am ten years old when my story begins in the first book of the Talon series, TALON, COME FLY WITH ME. Because of that disability, (I am saying ‘that’ disability, not ‘my’ disability because it’s a thing that happens to me, nothing more and because I am not accepting it as something bad. I can say that now after I learned to cope with it.) I was rejected by the local Indians as they couldn’t understand that that condition is not a sickness and so it can’t be really cured. It’s just a disorder of my body. But I never gave up on life and so I had lots of adventures roaming around the plateau where we live in Peru, South America, with my mother’s blessings. But after I made friends with my condors I named Tamo and Tima, everything changed. It changed for the good. I was finally loved. And I am the hero and I embrace my problem. In better words: I had embraced my problem before I made friends with my condors Tamo and Tima. I held onto it and I felt sorry for myself and cried a lot, wanting to run away or something worse. But did it help me? Did it become better? Did I grow taller? No, nothing of that helped me. I didn’t have those questions when I was still in my sorrow, but all these questions came to me later, after I was loved and was cherished. One day I looked up into the sky and saw the majestic condors flying in the air. Here and now, I made up my mind. I wanted to become friends with them. I believed if I could achieve that, all my sorrow and rejection would be over. And true enough, it was over. I was loved. I even became famous. And so, if you are in a situation, with whatever your problem is, find something you could rely on and stick to it, love that and do with that what you were meant to do. And I never run from conflicts.

She took the leap W. H. Auden described in his famous poem “Leap Before You Look”: The sense of danger must not disappear: The way is certainly both short and steep, However gradual it looks from here; Look if you like, but you will have to leap. Tough-minded men get mushy in their sleep And break the by-laws any fool can keep; It is not the convention but the fear That has a tendency to disappear…. The clothes that are considered right to wear Will not be either sensible or cheap, So long as we consent to live like sheep And never mention those who disappear…. A solitude ten thousand fathoms deep Sustains the bed on which we lie, my dear: Although I love you, you will have to leap; Our dream of safety has to disappear.

So to you Elsa Greer spoke in the words of Juliet?’ ‘Yes. She was a spoiled child of fortune-young, lovely, rich. She found her mate and claimed him-no young Romeo, a married, middle-aged painter. Elsa Greer had no code to restrain her, she had the code of modernity. “Take what you want-we shall only live once!’ He sighed, leaned back, and again tapped gently on the arm of his chair. ‘A predatory Juliet. Young, ruthless, but horribly vulnerable! Staking everything on the one audacious throw. And seemingly she won…and then-at the last moment-death steps in-and the living, ardent, joyous Elsa died also. There was left only a vindictive, cold, hard woman, hating with all her soul the woman whose hand had done this thing.’ His voice changed: ‘Dear, dear. Pray forgive this little lapse into melodrama. A crude young woman-with a crude outlook on life. Not, I think, an interesting character.Rose white youth, passionate, pale, etc. Take that away and what remains? Only a somewhat mediocre young woman seeking for another life-sized hero to put on an empty pedestal.’ Poirot said: ‘If Amyas Crale had not been a famous painter-’ Mr Jonathan agreed quickly. He said: ‘Quite-quite. You have taken the point admirably. The Elsas of this world are hero-worshippers. A man must havedone something, must be somebody…Caroline Crale, now, could have recognized quality in a bank clerk or an insurance agent! Caroline loved Amyas Crale the man, not Amyas Crale the painter. Caroline Crale was not crude-Elsa Greer was.

By the time I first encountered Jung, as a teenager in the early 1970s, this was certainly happening. Jung may not have been accepted by mainstream intellectuals—Freud was their psychologist of choice—but he had certainly been adopted by the counterculture. When I first read Memories, Dreams, Reflections—his “so-called autobiography”—Jung was part of a canon of “alternative” thinkers that included Hermann Hesse, Alan Watts, Carlos Castaneda, D. T. Suzuki, R. D. Laing, Aldous Huxley, Jorge Luis Borges, Aleister Crowley, Timothy Leary, Madame Blavatsky, and J. R. R. Tolkien, to name a few. That his face appeared on the cover of the Beatles’ famous Sgt. Pepper’s Lonely Hearts Club Band album, in a crowd of other unorthodox characters, was endorsement enough.

Delusions Dissociative disorders, even those created by mind controllers, are not psychosis, but this program will create the most common symptom used to diagnose schizophrenia. The child is hurt while on a turntable, with people and television sets and cartoons and photographs all around the turntable. New alters created by the torture are instructed that they must obey their instructions and become the people around them, people on television, or other alters when they are told to. When this program is triggered, the survivor will hear “voices” of the people whom the "copy alters” are imitating, or will have many confused alters popping out who think they are actually other people or movie stars. The identities of the copy alters change when the survivor's surrounding change.

I want to sleep with people, steal, get run out of town, leave my fingerprints on every scene. We have a name for it, our generation. It’s our Baghdad.” “Your what?” “My Baghdad,” Tommy said laughing, knowing it was dumb, savoring the dumbness, and maybe also its truth. “The situation you get into knowing it’s fucked-up but you keep doing it anyway, making it an even bigger disaster. Everyone gets one, but that’s how you learn. It builds character, makes you dirty and real. You know you’re a superpower when you can lose every war and still be a superpower. Maybe you’re a superpower because you can afford to lose them. Same here. There should be a Web site that records all the risks a person has taken, all the famous people they’ve met, all their gnarly trips and bad decisions. Like a Web site that ranks who’s lived the most.” “Isn’t that called Facebook?” Mills asked.

He was a big, rather clumsy man, with a substantial bay window that started in the middle of the chest. I should guess that he was less muscular than at first sight he looked. He had large staring blue eyes and a damp and pendulous lower lip. He didn't look in the least like an intellectual. Creative people of his abundant kind never do, of course, but all the talk of Rutherford looking like a farmer was unperceptive nonsense. His was really the kind of face and physique that often goes with great weight of character and gifts. It could easily have been the soma of a great writer. As he talked to his companions in the streets, his voice was three times as loud as any of theirs, and his accent was bizarre…. It was part of his nature that, stupendous as his work was, he should consider it 10 per cent more so. It was also part of his nature that, quite without acting, he should behave constantly as though he were 10 per cent larger than life. Worldly success? He loved every minute of it: flattery, titles, the company of the high official world...But there was that mysterious diffidence behind it all. He hated the faintest suspicion of being patronized, even when he was a world figure. Archbishop Lang was once tactless enough to suggest that he supposed a famous scientist had no time for reading. Rutherford immediately felt that he was being regarded as an ignorant roughneck. He produced a formidable list of his last month’s reading. Then, half innocently, half malevolently: "And what do you manage to read, your Grice?" I am afraid", said the Archbishop, somewhat out of his depth, "that a man in my position doesn't really have the leisure..." Ah yes, your Grice," said Rutherford in triumph, "it must be a dog's life! It must be a dog's life!

This famous passage from “The Golden Verses,” which Epictetus quoted to his students, describes the evening meditation: Allow not sleep to close your wearied eyes, Until you have reckoned up each daytime deed: “Where did I go wrong? What did I do? And what duty’s left undone?” From first to last review your acts and then Reprove yourself for wretched acts, but rejoice in those done well.27 You can ask yourself these three very simple questions: 1. What did you do badly? Did you allow yourself to be ruled by irrational fears or unhealthy desires? Did you act badly or allow yourself to indulge in irrational thoughts? 2. What did you do well? Did you make progress by acting wisely? Praise yourself and reinforce what you want to repeat. 3. What could you do differently? Did you omit any opportunities to exercise virtue or strength of character? How could you have handled things better?

The nature of the case, and the history of the Mysteries, alike show that this book could be none other than the "Book Pet-Rome;" that is, the "Book of the Grand Interpreter," in other words, of Hermes Trismegistus, the great "Interpreter of the Gods." In Egypt, from which Athens derived its religion, the books of Hermes were regarded as the divine fountain of all true knowledge of the Mysteries. In Egypt, therefore, Hermes was looked up to in this very character of Grand Interpreter, or "Peter-Roma." In Athens, Hermes, as is well known, occupied precisely the same place, and, of course, in the sacred language, must have been known by the same title. The priest, therefore, that in the name of Hermes explained the Mysteries, must have been decked not only with the keys of Peter, but with the keys of "Peter-Roma." Here, then, the famous "Book of Stone" begins to appear in a new light, and not only so, but to shed new light on one of the darkest and most puzzling passages of Papal history.

He had to backtrack immediately to account for the most famous and most acclaimed poet in America, Phillis Wheatley, who was, very unfortunately for Jefferson’s argument, unquestionably black. She had been brought to Boston as an enslaved African at the age of about six, learned English and Latin as a child, and began writing poetry as a teenager. Her published works earned accolades on both sides of the Atlantic. Among her admirers were Voltaire, who praised Wheatley’s “very good English verse,” George Washington, Benjamin Franklin, and even the naval hero John Paul Jones, who addressed her as “the celebrated Phillis the African favorite of the Nine [Muses] and Apollo” when he sent her some of his own verses. Dr. Rush cited her as a proof of black ability, listing her accomplishments when he wrote in 1775, “We have many well attested anecdotes of as sublime and disinterested virtue among them as ever adorned a Roman or a Christian character.”14 Franklin went to see Wheatley when she was in London, a literary celebrity on book tour. The acclaim irked Jefferson: “The compositions published under her name are below the dignity of criticism.”15

All obstructions to the execution of the Laws, all combinations and associations, under whatever plausible character, with the real design to direct, control, counteract, or awe the regular deliberation and action of the constituted authorities, are destructive of this fundamental principle, and of fatal tendency.—They serve to organize faction, to give it an artificial and extraordinary force—to put in the place of the delegated will of the nation, the will of a party;—often a small but artful and enterprising minority of the community;—and, according to the alternate triumphs of different parties, to make the public administration the mirror of the ill-concerted and incongruous projects of faction, rather than the organ of consistent and wholesome plans digested by common councils, and modified by mutual interests.—However combinations or associations of the above descriptions may now and then answer popular ends, they are likely, in the course of time and things, to become potent engines, by which cunning, ambitious, and unprincipled men will be enabled to subvert the Power of the People, and to usurp for themselves the reins of Government; destroying afterwards the very engines, which have lifted them to unjust dominion.—

In any long fiction, Henry James remarked, use of the first-person point of view is barbaric. James may go too far, but his point is worth considering. First person locks us in one character's mind, locks us to one kind of diction throughout, locks out possibilities of going deeply into various characters' minds and so forth. ....Vulgar diction in the telling of the Helen story would clearly create a white-hot irony, probably all but unmanageable. Colloquial diction and relatively short sentences would have the instant effect of humanizing once elevated characters and events. Highly formal diction and all that goes along with the traditional omniscient narrator might seem immediately appropriate for the seriousness of the story, but it can easily backfire, providing not suitable pomp but mere pompousness. And some choices in p.o.v. as well as in other stylistic elements, may have more direct bearing on the theme than would others. For instance, the "town" point of view, in which the voice in the story is some unnamed spokesman for all the community--among the most famous examples is Faulkner's "A Rose for Emily"--might have the immediate effect of foregrounding the story's controlling idea, conflicting community values versus personal values.

Racial stereotyping. For Martin Luther King, Jr., and other civil rights leaders, the sin of white racism was stereotyping all black people as inferior. It was a prejudice to be sure, but it was predicated on the assumption that all blacks were the same. King objected to stereotyping because he wanted blacks to be treated as individuals and not reduced exclusively to their racial identity (hence the meaning of his famous statement about the content of one's character taking precedence over the color of one's skin). The postmodern left turns the civil rights model on its head. It embraces racial stereotyping -- racial identity by any other name -- and reverses it, transforming it into something positive, provided the pecking order of power is kept in place. In the new moral scheme of racial identities, black inferiority is replaced by white culpability, rendering the entire white race, with few exceptions, collectively guilty of racial oppression. The switch is justified through the logic of racial justice, but that does not change the fact that people are being defined by their racial characteristic. Racism is viewed as structural, so it is permissible to use overtly positive discrimination (i.e., affirmative action) to reorder society. This end-justifies-the-means mentality of course predates the postmodern left. It can be found in the doctrine of affirmative action. But the racial theorists of identity politics have taken "positive" discrimination to a whole new level. Whereas affirmative action was justified mainly in terms of trying to give disadvantaged blacks a temporary leg up, the racial theorists of the postmodern left see corrective action as permanent. The unending struggle that ensues necessitates acceptance of a new type of racial stereotyping as a way of life and increasingly as something that needs to be enshrined in administrative regulations and the law. The idea of positive stereotyping contains all sorts of illiberal troublemaking. Once one race is set up as victim and another as guilty of racism, any means necessary are permitted to correct the alleged unjust distribution of power. Justice becomes retaliatory rather than color blind -- a matter of vengeance rather than justice. The notion of collective racial guilt, once a horror to liberal opinion, is routinely accepted today as the true mark of a progressive. Casualties are not only King's dream of racial harmony but also the hope that someday we can all -- blacks and whites -- rise above racial stereotypes.

I grew convinc'd that truth, sincerity and integrity in dealings between man and man were of the utmost importance to the felicity of life; and I form'd written resolutions, which still remain in my journal book, to practice them ever while I lived. Revelation had indeed no weight with me, as such; but I entertain'd an opinion that, though certain actions might not be bad because they were forbidden by it, or good because it commanded them, yet probably these actions might be forbidden because they were bad for us, or commanded because they were beneficial to us, in their own natures, all the circumstances of things considered. And this persuasion, with the kind hand of Providence, or some guardian angel, or accidental favorable circumstances and situations, or all together, preserved me, thro' this dangerous time of youth, and the hazardous situations I was sometimes in among strangers, remote from the eye and advice of my father, without any willful gross immorality or injustice, that might have been expected from my want of religion. I say willful, because the instances I have mentioned had something of necessity in them, from my youth, inexperience, and the knavery of others. I had therefore a tolerable character to begin the world with; I valued it properly, and determin'd to preserve it.

After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication.

Have a culminative look at just one snippet from Ipolit's famous "Necessary Explanation" in The Idiot: "Anyone who attacks individual charity," I began, "attacks human nature and casts contempt on personal dignity. But the organization of 'public charity' and the problem of individual freedom are two distinct questions, and not mutually exclusive. Individual kindness will always remain, because it is an individual impulse, the living impulse of one personality to exert a direct influence upon another....How can you tell, Bahmutov, what significance such an association of one personality with another may have on the destiny of those associated?" Can you imagine any of our own major novelists allowing a character to say stuff like this (not, mind you, just as hypocritical bombast so that some ironic hero can stick a pin in it, but as part of a ten-page monologue by somebody trying to decide whether to commit suicide)? The reason you can't is the reason he wouldn't: such a novelist would be, by our lights, pretentious and overwrought and silly. The straight presentation of such a speech in a Serious Novel today would provoke not outrage or invective, but worse-one raised eyebrow and a very cool smile. Maybe, if the novelist was really major, a dry bit of mockery in The New Yorker. The novelist would be (and this is our own age's truest vision of hell) laughed out of town.

The next morning, I went over to pick them up. I’d spent the night thinking of more things I should tell them--everything about Chris I thought they needed to know. It was all too much. “I don’t know how to tell you everything,” I confessed to Bradley as he got into the car. I started to cry. “There’s so many things and we have such a short amount of time.” “Just being here is all we need,” he said. “I’m not an impersonator. I’m just here to feel Chris’s life--I feel him here with me right now.” Bradley put me at ease and I calmed down. Back at the house, he and Clint became almost like family. Little bits of their personality came out as well--and I saw a glimmer of Clint’s famous Dirty Harry character later on in the day when I had to leave to go to Bubba’s basketball game. They’d talked about coming with me--which frankly would have created an impossible circus. But I did give them the option. As they stood trying to make up their minds, I snapped into anxious mom mode. “All right,” I told them both. “You’re welcome to come. But if you’re coming, we’re leaving now.” I guess my tone was a little too strident. “So you want to get tough with me, huh, lady?” said Clint in his best Dirty Harry voice as he raised his eyebrow. It’s amazing how threatening a simple facial tic can be. I left them home to study some of Chris’s replica guns and gear. Our own already had its ample share of lawmen.

So much for Caligula as emperor; we must now tell of his career as a monster.... He lived in habitual incest with all his sisters, and at a large banquet he placed each of them in turn below him, while his wife reclined above. Many men of honourable rank were first disfigured with the marks of branding-irons and then condemned to the mines, to work at building roads, or to be thrown to the wild beasts; or else he shut them up in cages on all fours, like animals, or had them sawn asunder. Not all these punishments were for serious offences, but merely for criticising one of his shows, or for never having sworn by his genius. Having asked a man who had been recalled from an exile of long standing, how in the world he spent his time there, the man replied by way of flattery: "I constantly prayed the gods for what has come to pass, that Tiberius might die and you become emperor." Thereupon Caligula, thinking that his exiles were likewise praying for his death, sent emissaries from island to island to butcher them all. Wishing to have one of the senators torn to pieces, he induced some of the members to assail him suddenly, on his entrance into the House, with the charge of being a public enemy, to stab him with their styles, and turn him over to the rest to be mangled; and his cruelty was not sated until he saw the man's limbs, members, and bowels dragged through the streets and heaped up before him. He used to say that there was nothing in his own character which he admired and approved more highly than what he called his ἀδιατρεψία, that is to say, his shameless impudence. He seldom had anyone put to death except by numerous slight wounds, his constant order, which soon became well-known, being: "Strike so that he may feel that he is dying." When a different man than he had intended had been killed, through a mistake in the names, he said that the victim too had deserved the same fate. He even used openly to deplore the state of his times, because they had been marked by no public disasters, saying that the rule of Augustus had been made famous by the Varus massacre, and that of Tiberius by the collapse of the amphitheatre at Fidenae,​ while his own was threatened with oblivion because of its prosperity; and every now and then he wished for the destruction of his armies, for famine, pestilence, fires, or a great earthquake. While he was lunching or revelling capital examinations by torture were often made in his presence, and a soldier who was adept at decapitation cut off the heads of those who were brought from prison. At a public banquet in Rome he immediately handed a slave over to the executioners for stealing a strip of silver from the couches, with orders that his hands be cut off and hung from his neck upon his breast, and that he then be led about among the guests.

Despite his earthbound approach and his preoccupation with scientific fact, Aristotle had an acute understanding of the nature and importance of religion and mythology. He pointed out that people who had become initiates in the various mystery religions were not required to learn any facts “but to experience certain emotions and to be put in a certain disposition.”35 Hence his famous literary theory that tragedy effected a purification (katharsis) of the emotions of terror and pity that amounted to an experience of rebirth. The Greek tragedies, which originally formed part of a religious festival, did not necessarily present a factual account of historical events but were attempting to reveal a more serious truth. Indeed, history was more trivial than poetry and myth: “The one describes what has happened, the other what might. Hence poetry is something more philosophic and serious than history; for poetry speaks of what is universal, history of what is particular.”36 There may or may not have been a historical Achilles or Oedipus, but the facts of their lives were irrelevant to the characters we have experienced in Homer and Sophocles, which express a different but more profound truth about the human condition. Aristotle’s account of the katharsis of tragedy was a philosophic presentation of a truth that Homo religiosus had always understood intuitively: a symbolic, mythical or ritual presentation of events that would be unendurable in daily life can redeem and transform them into something pure and even pleasurable.

A woman's demand for emancipation and her qualification for it are in direct proportion to the amount of maleness in her. The idea of emancipation, however, is many-sided, and its indefiniteness is increased by its association with many practical customs which have nothing to do with the theory of emancipation. By the term emancipation of a woman, I imply neither her mastery at home nor her subjection of her husband. I have not in mind the courage which enables her to go freely by night or by day unaccompanied in public places, or the disregard of social rules which prohibit bachelor women from receiving visits from men, or discussing or listening to discussions of sexual matters. I exclude from my view the desire for economic independence, the becoming fit for positions in technical schools, universities and conservatories or teachers' institutes. And there may be many other similar movements associated with the word emancipation which I do not intend to deal with. Emancipation, as I mean to discuss it, is not the wish for an outward equality with man, but what is of real importance in the woman question, the deep-seated craving to acquire man's character, to attain his mental and moral freedom, to reach his real interests and his creative power. I maintain that the real female element has neither the desire nor the capacity for emancipation in this sense. All those who are striving for this real emancipation, all women who are truly famous and are of conspicuous mental ability, to the first glance of an expert reveal some of the anatomical characters of the male, some external bodily resemblance to a man.

Andrei Yanuaryevich (one longs to blurt out, “Jaguaryevich”) Vyshinsky, availing himself of the most flexible dialectics (of a sort nowadays not permitted either Soviet citizens or electronic calculators, since to them yes is yes and no is no), pointed out in a report which became famous in certain circles that it is never possible for mortal men to establish absolute truth, but relative truth only. He then proceeded to a further step, which jurists of the last two thousand years had not been willing to take: that the truth established by interrogation and trial could not be absolute, but only, so to speak, relative. Therefore, when we sign a sentence ordering someone to be shot we can never be absolutely certain, but only approximately, in view of certain hypotheses, and in a certain sense, that we are punishing a guilty person. Thence arose the most practical conclusion: that it was useless to seek absolute evidence-for evidence is always relative-or unchallengeable witnesses-for they can say different things at different times. The proofs of guilt were relative, approximate, and the interrogator could find them, even when there was no evidence and no witness, without leaving his office, “basing his conclusions not only on his own intellect but also on his Party sensitivity, his moral forces” (in other words, the superiority of someone who has slept well, has been well fed, and has not been beaten up) “and on his character” (i.e., his willingness to apply cruelty!)… In only one respect did Vyshinsky fail to be consistent and retreat from dialectical logic: for some reason, the executioner’s bullet which he allowed was not relative but absolute…

I was dumbfounded to witness this specimen of male beauty in such a compromising position. I had never imagined finding the famous Rick Samuels in a dungeon, let alone in such a vulnerable and decubitus posture. He was my visiting lecturer, who had advised me to be selective in posing pornographically and for high art. He specifically told me that he was careful not to associate himself in the porn industry. Here he was, lying bare among men whom he did not know or have the vision to see. They were using him as a sex object, gratifying themselves regardless of how he felt. The men took turns pumping their swollen instruments into both his orifices until they could stave off their cravings no longer before they released their loads into Rick’s welcoming openings. He was the ‘power bottom,’ otherwise known to the gay underground community as a ‘cum pig’ or a ‘pig bottom.’ That evening was an eye-opener and a reformation. It reaffirmed men’s double standards in their words and actions for me. They were just like seasoned politicians, who promise a world of positive reforms before election. When elected to office, their promises are thrown to the wind. A set of new rules for personal gains then take effect. Thus is the nature of mankind. That evening, Andy, I learned an important lesson that humankind has its strengths and foibles. It is therefore worth the effort to take a closer look at a person’s character instead of embracing the superficiality that could often cloud a sound judgment. My beloved ex-’big brother,’ I am positive in my heart of hearts that you are an honorable gentleman of your word. From the first time I met you to our recent reconnection, you will always be the man I respect, honor, cherish, and, most importantly, LOVE. Young.

The two works I allude to, sir, will in particular give a noble rule and example of self-education. School and other education constantly proceed upon false principles, and show a clumsy apparatus pointed at a false mark; but your apparatus is simple, and the mark a true one; and while parents and young persons are left destitute of other just means of estimating and becoming prepared for a reasonable course in life, your discovery that the thing is in many a man's private power, will be invaluable! Influence upon the private character, late in life, is not only an influence late in life, but a weak influence. It is in youth that we plant our chief habits and prejudices; it is in youth that we take our party as to profession, pursuits and matrimony. In youth, therefore, the turn is given; in youth the education even of the next generation is given; in youth the private and public character is determined; and the term of life extending but from youth to age, life ought to begin well from youth, and more especially before we take our party as to our principal objects. But your biography will not merely teach self-education, but the education of a wise man; and the wisest man will receive lights and improve his progress, by seeing detailed the conduct of another wise man. And why are weaker men to be deprived of such helps, when we see our race has been blundering on in the dark, almost without a guide in this particular, from the farthest trace of time? Show then, sir, how much is to be done, both to sons and fathers; and invite all wise men to become like yourself, and other men to become wise. When we see how cruel statesmen and warriors can be to the human race, and how absurd distinguished men can be to their acquaintance, it will be instructive to observe the instances multiply of pacific, acquiescing manners; and to find how compatible it is to be great and domestic, enviable and yet good-humored.

It turns out that in that terrible year Andrei Yanuaryevich (one longs to blurt out, “Jaguaryevich”) Vyshinsky, availing himself of the most flexible dialectics (of a sort nowadays not permitted either Soviet citizens or electronic calculators, since to them yes is yes and no is no), pointed out in a report which became famous in certain circles that it is never possible for mortal men to establish absolute truth, but relative truth only. He then proceeded to a further step, which jurists of the last two thousand years had not been willing to take: that the truth established by interrogation and trial could not be absolute, but only, so to speak, relative. Therefore, when we sign a sentence ordering someone to be shot we can never be absolutely certain, but only approximately, in view of certain hypotheses, and in a certain sense, that we are punishing a guilty person. Thence arose the most practical conclusion: that it was useless to seek absolute evidence—for evidence is always relative—or unchallengeable witnesses—for they can say different things at different times. The proofs of guilt were relative, approximate, and the interrogator could find them, even when there was no evidence and no witness, without leaving his office, “basing his conclusions not only on his own intellect but also on his Party sensitivity, his moral forces” (in other words, the superiority of someone who has slept well, has been well fed, and has not been beaten up) “and on his character” (i.e., his willingness to apply cruelty!). In only one respect did Vyshinsky fail to be consistent and retreat from dialectical logic: for some reason, the executioner’s bullet which he allowed was not relative but absolute. . . . Thus it was that the conclusions of advanced Soviet jurisprudence, proceeding in a spiral, returned to barbaric or medieval standards. Like medieval torturers, our interrogators, prosecutors, and judges agreed to accept the confession of the accused as the chief proof of guilt.

45. No Plan Survives First Contact With The Enemy No matter how well you have prepared for something in advance - whether it’s an expedition, an exam, a marriage or a race - when you find yourself in the thick of the action, however good your plan, things happen. Adventure is unpredictable, and you had better learn to be flexible and to swing with the punches, or you will get beaten - it’s as simple as that. Mike Tyson famously once said: ‘Everyone has a plan…until they get punched in the face!’ If the adventure is an exciting one, you can bet your bottom dollar you will get hit by the occasional punch in the face. So prepare for the unexpected, and remember that forewarned is forearmed. Knowing that things will and do go wrong in the heat of battle is actually half the battle. It means that when it happens you are ready for it - you can react fast, stay nimble and you can survive the barrage. We used to say in the military that when things took a turn for the worse you have to ‘improvise, adapt and overcome.’ IAO. It is a good one to remember. It gives us a road map to deal with the unexpected. Being caught out, being caught off guard often makes people freeze - it is a human reaction to shock. But freezing can cost you the edge. So learn to anticipate the unexpected, and when it happens, smile to yourself and treat it as a solid marker that you are doing something right on your road to success. If nothing ever goes wrong then you haven’t been ambitious enough! I also like to say that the real adventure begins in earnest when things go a little bit wrong. It is only then that you get to pit yourself against the worst the wild has to throw at you. When all is going to plan, with all the kit working perfectly and the weather benign, then it isn’t really a test of character. It is easy to be the hero when all is going your way. But when it all goes wrong and life feels like a battle, it is then that we can see what sort of people we have around us. It is only through the hardships that our character becomes forged. Without struggle there can be no growth - physically or emotionally. So embrace the unexpected, feed off it, train yourself to be a master of the curve ball, and you will have built yourself another solid ‘character’ rung on the ladder to success.

We are foolish, and without excuse foolish, in speaking of the "superiority" of one sex to the other, as if they could be compared in similar things. Each has what the other has not: each completes the other, and is completed by the other: they are in nothing alike, and the happiness and perfection of both depends on each asking and receiving from the other what the other only can give. 68. Now their separate characters are briefly these: The man's power is active, progressive, defensive. He is eminently the doer, the creator, the discoverer, the defender. His intellect is for speculation and invention; his energy for adventure, for war, and for conquest, wherever war is just, wherever conquest necessary. But the woman's power is for rule, not for battle,—and her intellect is not for invention or creation, but for sweet ordering, arrangement, and decision. She sees the qualities of things, their claims, and their places. Her great function is Praise: she enters into no contest, but infallibly judges the crown of contest. By her office, and place, she is protected from all danger and temptation. The man, in his rough work in open world, must encounter all peril and trial: to him, therefore, must be the failure, the offense, the inevitable error: often he must be wounded, or subdued; often misled; and always hardened. But he guards the woman from all this; within his house, as ruled by her, unless she herself has sought it, need enter no danger, no temptation, no cause of error or offense. This is the true nature of home—it is the place of Peace; the shelter, not only from all injury, but from all terror, doubt, and division. In so far as it is not this, it is not home: so far as the anxieties of the outer life penetrate into it, and the inconsistently-minded, unknown, unloved, or hostile society of the outer world is allowed by either husband or wife to cross the threshold, it ceases to be home; it is then only a part of that outer world which you have roofed over, and lighted fire in. But so far as it is a sacred place, a vestal temple, a temple of the hearth watched over by Household Gods, before whose faces none may come but those whom they can receive with love,—so far as it is this, and roof and fire are types only of a nobler shade and light,—shade as of the rock in a weary land, and light as of the Pharos in the stormy sea,—so far it vindicates the name, and fulfills the praise, of home. And wherever a true wife comes, this home is always round her.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

As the Princess performs the impossible balancing act which her life requires, she drifts inexorably into obsession, continually discussing her problems. Her friend Carolyn Bartholomew argues it is difficult not to be self-absorbed when the world watches everything she does. “How can you not be self-obsessed when half the world is watching everything you do; the high-pitched laugh when someone is talking to somebody famous must make you very very cynical.” She endlessly debates the problems she faces in dealing with her husband, the royal family, and their system. They remain tantalizingly unresolved, the gulf between thought and action achingly great. Whether she stays or goes, the example of the Duchess of York is a potent source of instability. James Gilbey sums up Diana’s dilemma: “She can never be happy unless she breaks away but she won’t break away unless Prince Charles does it. He won’t do it because of his mother so they are never going to be happy. They will continue under the farcical umbrella of the royal family yet they will both lead completely separate lives.” Her friend Carolyn Bartholomew, a sensible sounding-board throughout Diana’s adult life, sees how that fundamental issue has clouded her character. “She is kind, generous, sad and in some ways rather desperate. Yet she has maintained her self-deprecating sense of humour. A very shrewd but immensely sorrowful lady.” Her royal future is by no means well-defined. If she could write her own script the Princess would like to see her husband go off with his Highgrove friends and attempt to discover the happiness he has not found with her, leaving Diana free to groom Prince William for his eventual destiny as the Sovereign. It is an idle pipe-dream as impossible as Prince Charles’s wish to relinquish his regal position and run a farm in Italy. She has other more modest ambitions; to spend a weekend in Paris, take a course in psychology, learn the piano to concert grade and to start painting again. The current pace of her life makes even these hopes seem grandiose, never mind her oft-repeated vision of the future where she see herself one day settling abroad, probably in Italy or France. A more likely avenue is the unfolding vista of charity, community and social work which has given her a sense of self-worth and fulfillment. As her brother says: “She has got a strong character. She does know what she wants and I think that after ten years she has got to a plateau now which she will continue to occupy for many years.” As a child she sensed her special destiny, as an adult she has remained true to her instincts. Diana has continued to carry the burden of public expectations while enduring considerable personal problems. Her achievement has been to find her true self in the face of overwhelming odds. She will continue to tread a different path from her husband, the royal family and their system and yet still conform to their traditions. As she says: “When I go home and turn my light off at night, I know I did my best.

(3) Theology of Exodus: A Covenant People “I will take you as my own people, and I will be your God” (Exod 6:7). When God first demanded that the Egyptian Pharaoh let Israel leave Egypt, he referred to Israel as “my … people.” Again and again he said those famous words to Pharaoh, Let my people go.56 Pharaoh may not have known who Yahweh was,57 but Yahweh certainly knew Israel. He knew them not just as a nation needing rescue but as his own people needing to be closely bound to him by the beneficent covenant he had in store for them once they reached the place he was taking them to himself, out of harm's way, and into his sacred space.58 To be in the image of God is to have a job assignment. God's “image”59 is supposed to represent him on earth and accomplish his purposes here. Reasoning from a degenerate form of this truth, pagan religions thought that an image (idol) in the form of something they fashioned would convey to its worshipers the presence of a god or goddess. But the real purpose of the heavenly decision described in 1:26 was not to have a humanlike statue as a representative of God on earth but to have humans do his work here, as the Lord's Prayer asks (“your will be done on earth as it is in heaven,” Matt 6:10). Although the fall of humanity as described in Genesis 3 corrupted the ability of humans to function properly in the image of God, the divine plan of redemption was hardly thwarted. It took the form of the calling of Abraham and the promises to him of a special people. In both Exod 6:6–8 and 19:4–6 God reiterates his plan to develop a people that will be his very own, a special people that, in distinction from all other peoples of the earth, will belong to him and accomplish his purposes, being as Exod 19:6 says “a kingdom of priests and a holy nation.” Since the essence of holiness is belonging to God, by belonging to God this people became holy, reflecting the character of their Lord as well as being obedient to his purposes. No other nation in the ancient world ever claimed Yahweh as its God, and Yahweh never claimed any other nation as his people. This is not to say that he did not love and care for other nations60 but only to say that he chose Israel as the focus of his plan of redemption for the world. In the New Testament, Israel becomes all who will place faith in Jesus Christ—not an ethnic or political entity at all but now a spiritual entity, a family of God. Thus the New Testament speaks of the true Israel as defined by conversion to Christ in rebirth and not by physical birth at all. But in the Old Covenant, the true Israel was the people group that, from the various ethnic groups that gathered at Sinai, agreed to accept God's covenant and therefore to benefit from this abiding presence among them (see comments on Exod 33:12–24:28). Exodus is the place in the Bible where God's full covenant with a nation—as opposed to a person or small group—emerges, and the language of Exod 6:7, “I will take you as my own people, and I will be your God,” is language predicting that covenant establishment.61

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

A famous British writer is revealed to be the author of an obscure mystery novel. An immigrant is granted asylum when authorities verify he wrote anonymous articles critical of his home country. And a man is convicted of murder when he’s connected to messages painted at the crime scene. The common element in these seemingly disparate cases is “forensic linguistics”—an investigative technique that helps experts determine authorship by identifying quirks in a writer’s style. Advances in computer technology can now parse text with ever-finer accuracy. Consider the recent outing of Harry Potter author J.K. Rowling as the writer of The Cuckoo’s Calling , a crime novel she published under the pen name Robert Galbraith. England’s Sunday Times , responding to an anonymous tip that Rowling was the book’s real author, hired Duquesne University’s Patrick Juola to analyze the text of Cuckoo , using software that he had spent over a decade refining. One of Juola’s tests examined sequences of adjacent words, while another zoomed in on sequences of characters; a third test tallied the most common words, while a fourth examined the author’s preference for long or short words. Juola wound up with a linguistic fingerprint—hard data on the author’s stylistic quirks. He then ran the same tests on four other books: The Casual Vacancy , Rowling’s first post-Harry Potter novel, plus three stylistically similar crime novels by other female writers. Juola concluded that Rowling was the most likely author of The Cuckoo’s Calling , since she was the only one whose writing style showed up as the closest or second-closest match in each of the tests. After consulting an Oxford linguist and receiving a concurring opinion, the newspaper confronted Rowling, who confessed. Juola completed his analysis in about half an hour. By contrast, in the early 1960s, it had taken a team of two statisticians—using what was then a state-of-the-art, high-speed computer at MIT—three years to complete a project to reveal who wrote 12 unsigned Federalist Papers. Robert Leonard, who heads the forensic linguistics program at Hofstra University, has also made a career out of determining authorship. Certified to serve as an expert witness in 13 states, he has presented evidence in cases such as that of Christopher Coleman, who was arrested in 2009 for murdering his family in Waterloo, Illinois. Leonard testified that Coleman’s writing style matched threats spray-painted at his family’s home (photo, left). Coleman was convicted and is serving a life sentence. Since forensic linguists deal in probabilities, not certainties, it is all the more essential to further refine this field of study, experts say. “There have been cases where it was my impression that the evidence on which people were freed or convicted was iffy in one way or another,” says Edward Finegan, president of the International Association of Forensic Linguists. Vanderbilt law professor Edward Cheng, an expert on the reliability of forensic evidence, says that linguistic analysis is best used when only a handful of people could have written a given text. As forensic linguistics continues to make headlines, criminals may realize the importance of choosing their words carefully. And some worry that software also can be used to obscure distinctive written styles. “Anything that you can identify to analyze,” says Juola, “I can identify and try to hide.

ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.

f you want to be famous then run for office and be a politician. If you want to be rich then become a plastic surgeon. If you want to have people know your name then be a teacher. If you want to make a difference in someone’s life then have children. But if you want to work alone, feel like a freak, be misunderstood, wonder what the point is, always come up short of time and money, while writing stories that bubble up from within about characters you have never met but are strangely in love with, then be a writer.

The adventures of Don Quixote and Sancho Panza, a team generally regarded as seeking justice, can be compared to the adventures of Rex Stout's two most famous characters, Nero Wolf and Archie Goodwin.

I still remember, very vividly and clearly, what you last wrote to me. Each of those words pierced my heart. I still have that letter of yours and every time I miss you, I read that letter even if that means immense pain and nostalgia. A famous adage goes like this, ‘Love always elevates the character of man. It never lowers him, provided love be love.’ And since the time you left, each and every moment I have realized that you were my love, my true love since you have elevated my character, changed me for better and transformed me into someone you always wanted me to be.

It was over a century and a half ago that Clausewitz made his now famous remarks on the relationship of war to policy. Most simply, "war is not a mere act of policy, but a true political instrument, a continuation of political activity by other means." Political considerations reach into the military means, to influence "the planning of war, of the campaign, and often of the battle." Clausewitz clearly believed that statesmen could and should ensure that policy infuse military operations. Those in charge of policy require "a certain grasp of military affairs." They need to be soldiers, however. "What is needed in the post is distinguished intellect and character. He [the statesman] can always get the necessary military information somehow or other." Clausewitz was overoptimistic on this score. Few have challenged his judgement that policy must infuse acts of war, but the achievement of this goal has proven more difficult that he imagined... Functional specialization between soldiers and statesmen, and the tendency of soldiers to seek as much independence from civilian interference as possible, combine to make political-military integration an uncertain prospect.

More daring, though, was Jung’s uninhibited interest in spiritualism, which by this time had become a controversial topic on both sides of the Atlantic, ever since 1848, when the Fox sisters of Hydesville, New York, discovered they could communicate with the spirit of a dead man. Soon after this, mediums, table turning, floating tambourines, ectoplasmic limbs, and a variety of other otherworldly phenomena became the focus of an international craze; the flood of disincarnate appearances led one investigator to speak of an “invasion of the spirit people.”7 Colorful characters like the Russian medium and mystic Helena Petrovna Blavatsky were involved, but also scientists and philosophers like William James, Oliver Lodge, William Crookes, and Frederick Myers. It is difficult for us today to realize that at the time, many of the most famous men and women in the world were involved in spiritualism, to one degree or another. Thomas Edison, for example, who joined Blavatsky’s Theosophical Society, hoped to be able to record spirits on his “Spirit Phone.” Yet, for all this, the reductionist thought that dominates the academic world today was already securely in place, and Jung was risking his future career by openly advocating the unbiased study of the paranormal.

Sam Anderson. “The Greatest Novel.” New York Magazine (outline). Jan. 9, 2011. New York is, famously, the everything bagel of megalopolises—one of the world’s most diverse cities, defined by its churning mix of religions, ethnicities, social classes, attitudes, lifestyles, etc., ad infinitum. This makes it a perfect match for the novel, a genre that tends to share the same insatiable urge. In choosing the best New York novel, then, my first instinct was to pick something from the city’s proud tradition of megabooks—one of those encyclopedic ambition bombs that attempt to capture, New Yorkily, the full New Yorkiness of New York. Something like, to name just a quick armful or two, Manhattan Transfer, The Bonfire of the Vanities, Underworld, Invisible Man, Winter’s Tale, or The Amazing Adventures of Kavalier & Clay—or possibly even one of the tradition’s more modest recent offspring, like Lush Life and Let the Great World Spin. In the end, however, I decided that the single greatest New York novel is the exact opposite of all of those: a relatively small book containing absolutely zero diversity. There are no black or Hispanic or Asian characters, no poor people, no rabble-rousers, no noodle throwers or lapsed Baha’i priests or transgender dominatrixes walking hobos on leashes through flocks of unfazed schoolchildren. Instead there are proper ladies behaving properly at the opera, and more proper ladies behaving properly at private balls, and a phlegmatic old Dutch patriarch dismayed by the decline of capital-S Society. The book’s plot hinges on a subtly tragic love triangle among effortlessly affluent lovers. It is 100 percent devoted to the narrow world of white upper-class Protestant heterosexuals. So how can Edith Wharton’s The Age of Innocence possibly be the greatest New York novel of all time?

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003