Characters In R Quotes

Courage. Kindness. Friendship. Character. These are the qualities that define us as human beings, and propel us, on occasion, to greatness.

The craggy lines that made up the character in his face now seemed like scars of defeat, inflicted on him over time.

Don't the great tales never end?" "No, they never end as tales," said Frodo. "But the people in them come, and go when their part's ended. Our part will end later – or sooner.

Still, I wonder if we shall ever be put into songs or tales. We're in one, of course, but I mean: put into words, you know, told by the fireside, or read out of a great big book with red and black letters, years and years afterwards. And people will say: "Let's hear about Frodo and the Ring!" And they will say: "Yes, that's one of my favourite stories. Frodo was very brave, wasn't he, dad?" "Yes, my boy, the famousest of the hobbits, and that's saying a lot." 'It's saying a lot too much,' said Frodo, and he laughed, a long clear laugh from his heart. Such a sound had not been heard in those places since Sauron came to Middle-earth. To Sam suddenly it seemed as if all the stones were listening and the tall rocks leaning over them. But Frodo did not heed them; he laughed again. 'Why, Sam,' he said, 'to hear you somehow makes me as merry as if the story was already written. But you've left out one of the chief characters: Samwise the stouthearted. "I want to hear more about Sam, dad. Why didn't they put in more of his talk, dad? That's what I like, it makes me laugh. And Frodo wouldn't have got far without Sam, would he, dad?"' 'Now, Mr. Frodo,' said Sam, 'you shouldn't make fun. I was serious.' 'So was I,' said Frodo, 'and so I am.

Because in fantasy perhaps more than in any other genre, the character is rewarded for making the right choices and punished for making the bad. Ask Boromir.

people have character strength but they lack communication skills, and that undoubtedly affects the quality of relationships as well.

Sam: I wonder if we'll ever be put into songs or tales. Frodo: [turns around] What? Sam: I wonder if people will ever say, 'Let's hear about Frodo and the Ring.' And they'll say 'Yes, that's one of my favorite stories. Frodo was really courageous, wasn't he, Dad?' 'Yes, my boy, the most famousest of hobbits. And that's saying a lot.' Frodo: [continue walking] You've left out one of the chief characters - Samwise the Brave. I want to hear more about Sam. [stops and turns to Sam] Frodo: Frodo wouldn't have got far without Sam. Sam: Now Mr. Frodo, you shouldn't make fun; I was being serious. Frodo: So was I. [they continue to walk] Sam: Samwise the Brave...

Why don’t you put up a stand by the road.” I blurted out.

Do you think we would eat supper and not include the children. No child goes hungry when I’m around.

Those who had nothing substantial to brag about bragged the loudest.

He’s slipped up a little every now and then but after today, I imagine he’ll be spending a little extra time in church next Sunday.

Trust is equal parts character and competence... You can look at any leadership failure, and it's always a failure of one or the other.

A king is a man strong of character and conviction who leads by example and truly cares for the suffering of his people,not a brute who rules simply because he is the strongest.

No one will be alive by the last book. In fact, they all die in the fifth. The sixth book will be just a thousand-page description of snow blowing across the graves ...

You know, Qhuinn's an interesting character." Saxton reached out with an elegant hand and picked up his port. "He's one of my favorite cousins, actually. His nonconformity is admirable and he's survived things that would crush a lesser male. Don't know that being in love with him would be easy, however." Blay didn't go near that one. "So do you come here often?" Saxton laughed, his pale eyes glinting, "Not for discussion, huh.

And he who wields white, wild magic gold is a paradox For he is everything and nothing Hero and fool Potent, helpless And with one word of truth or treachery He will save or damn the earth Because he is mad and sane Cold and passionate Lost and found

The distinction between diseases of "brain" and "mind," between "neurological" problems and "psychological" or "psychiatric" ones, is an unfortunate cultural inheritance that permeates society and medicine. It reflects a basic ignorance of the relation between brain and mind. Diseases of the brain are seen as tragedies visited on people who cannot be blamed for their condition, while diseases of the mind, especially those that affect conduct and emotion, are seen as social inconveniences for which sufferers have much to answer. Individuals are to be blamed for their character flaws, defective emotional modulation, and so on; lack of willpower is supposed to be the primary problem.

I never cried a tear of self-pity.  That had never been my poison.  Bitter was my poison, and it took every ounce of character I possessed not to let it consume me.

People can't live with change if there's not a changeless core inside them. The key to the ability to change is a changeless sense of who you are, what you are about and what you value.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

If you don’t delight in the fact that your Father is holy, holy, holy, then you are spiritually dead. You may be in a church. You may go to a Christian school. But if there is no delight in your soul for the holiness of God, you don’t know God. You don’t love God. You’re out of touch with God. You’re asleep to his character.

Just as you grieve if a friend is killed, you should grieve if a fictional character is killed. You should care. If somebody dies and you just go get more popcorn, it’s a superficial experience isn’t it?

Why, Sam,” he said, “to hear you somehow makes me as merry as if the story was already written. But you’ve left out one of the chief characters; Samwise the stout hearted. ‘I want to hear more about Sam, dad. Why didn’t they put in more of his talk, dad? That’s what I like, it makes me laugh. And Frodo wouldn’t have got far without Sam, would he, dad?’ ” “Now, Mr. Frodo,” said Sam, “you shouldn’t make fun. I was serious.” “So was I,” said Frodo, “and so I am. We’re going on a bit too fast. You and I, Sam, are still stuck in the worst places of the story, and it is all too likely that some will say at this point ‘Shut the book now, dad; we don’t want to read any more’.” “Maybe,” said Sam, “but I wouldn’t be one to say that. Things done and over and made into part of the great tales are different. Why, even Gollum might be good in a tale, better than he is to have by you, anyway. And he used to like tales himself once, by his own account. I wonder if he thinks he’s the hero or the villain?” “Gollum!” he called. “Would you like to be the hero, now where’s he got to again?

Inside-Out" means to start first with self; even more fundamentally, to start with the most inside part of self -- with your paradigms, your character, and your motives

You and I won't ever find ourselves on that cross, but we repeatedly find ourselves at the foot of it. And how we act there will speak volumes about what we think of Christ's character and His call for us to be His disciples.

It is character that communicates most eloquently.

Sometimes they are heroes. Sometimes they are villains. More often they are something in between, grey characters … and grey has long been my favorite color. It is so much more interesting than black or white.

What has roots as nobody sees, Is taller than trees, Up, up it goes, And yet never grows?" (Answer: a mountain)

Conflict is the microscope of a book. When it's trained on a character, you see what's underneath the narratives of physical description. You see whether someone is strong or weak, principled or apathetic, heroic or villainous." (J.R. on writing the BDB series)

When we understand the character of God, when we grasp something of His holiness, then we begin to understand the radical character of our sin and hopelessness. Helpless sinners can survive only by grace. Our strength is futile in itself; we are spiritually impotent without the assistance of a merciful God. We may dislike giving our attention to God's wrath and justice, but until we incline ourselves to these aspects of God's nature, we will never appreciate what has been wrought for us by grace. Even Edwards's sermon on sinners in God's hands was not designed to stress the flames of hell. The resounding accent falls not on the fiery pit but on the hands of the God who holds us and rescues us from it. The hands of God are gracious hands. They alone have the power to rescue us from certain destruction.

There can be no good character in civil government if there is none in the people. You cannot make a good omelet with bad eggs.

No one survives this journey intact. Parts of your character will be cut away forever, as the lessons you receive on your path, remould you.

Is yours an honest lament? ... Most are not, you know. Most self-imposed burdens are founded on misperceptions. We - at least we of sincere character - always judge ourselves by stricter standards than we expect others to abide by. It is a curse, I suppose, or a blessing, depending on how one views it... Take it as a blessing, my friend, an inner calling that forces you to strive to unattainable heights.

There is no effectiveness without discipline, and there is no discipline without character.

You don’t even know me, or what I am capable of, boy.

We are a flawed, weak species, he gently reminds us in these pages, focusing his attention, clearly and without sentiment, on those who will stoop low, those who will stop at nothing. What makes us care for such frequently pathetic characters is that they, like most of the rest of us, are strivers, driven by hopes for a slightly better life.

I take it you know my companion?" Oh,yes!" said Savage, his smile disappearing. "We know all about Ruby Journey. Please don't let her kill anyone important. Or set fire to anything." Your reputation precedes you," Random said dryly to Ruby.

J.R.R.Tolkien has confessed that about a third of the way through The Fellowship of the Ring, some ruffian named Strider confronted the hobbits in an inn, and Tolkien was in despair. He didn't know who Strider was, where the book was going, or what to write next. Strider turns out to be no lesser person than Aragorn, the unrecognized and uncrowned king of all the forces of good, whose restoration to rule is, along with the destruction of the evil ring, the engine that moves the plot of the whole massive trilogy, The Lord of the Rings.

There are no moral shortcuts in the game of business—or life. There are, basically, three kinds of people: the unsuccessful, the temporarily successful, and those who become and remain successful. The difference is character.

Dermot, who I would never sleep with, not in a million years.  Not even if we were characters in Game of Thrones.

It was like murdering two of your children. I try to make the readers feel they’ve lived the events of the book. Just as you grieve if a friend is killed, you should grieve if a fictional character is killed. You should care. If somebody dies and you just go get more popcorn, it’s a superficial experience isn’t it?

I've been killing characters my entire career, maybe I'm just a bloody minded bastard, I don't know, [but] when my characters are in danger, I want you to be afraid to turn the page (and to do that) you need to show right from the beginning that you're playing for keeps.

In science fiction books characters always seem to have a weapon that can be set on stun. Do you have anything like that?” I asked. GERI laughed. He was getting better at it. “Yes, Tom, I have something like that.

The septons preach about the seven hells. What do they know? Only a man who's been burned knows what hell is truly like" ...She was sad for him, she realized. Somehow, the fear had gone away. The silence went on and on, so long that she began to grow afraid once more, but she was afraid for him now, not for herself. She found his massive shoulder with her hand. "He was no true knight," she whispered to him.

It is character that communicates most eloquently...In the last analysis, what we are communicates far more eloquently than anything we say or do.

the character of the person would outweigh the color of his skin and the reputation of his heritage.

A true home is one of the most sacred of places. It is a sanctuary into which men flee from the world’s perils and alarms. It is a resting-place to which at close of day the weary retire to gather new strength for the battle and toils of tomorrow. It is the place where love learns its lessons, where life is schooled into discipline and strength, where character is molded. Few things we can do in this world are so well worth doing as the making of a beautiful and happy home. He who does this builds a sanctuary for God and opens a fountain of blessing for men. Far more than we know, do the strength and beauty of our lives depend upon the home in which we dwell. He who goes forth in the morning from a happy, loving, prayerful home, into the world’s strife, temptation, struggle, and duty, is strong--inspired for noble and victorious living. The children who are brought up in a true home go out trained and equipped for life’s battles and tasks, carrying in their hearts a secret of strength which will make them brave and loyal to God, and will keep them pure in the world’s severest temptations.

...when you trust the Lord God to give you the next step, when you wait in humility upon Him, *He* will open the doors or close them, and you'll get to rest and relax until He says, 'Go.

No book is really worth reading, which does not either impart valuable knowledge; or set before us some ideal of beauty, strength, or nobility of character. There are enough great books to occupy us during all our short and busy years. If we are wise, we will resolutely avoid all but the richest and the best.

We - at least we of sincere character - always judge ourselves by stricter standards than we expect others to abide by.

An ordinary man can enjoy breakfasting on juice and rye bread. But when you are underfed, scorned, miserable or just plain bored, you don’t want to eat dull wholesome food. You want something a little more colourful, exciting, tastier, meatier and juicier.

We are what we repeatedly do. Excellence, then, is not an act, but a habit. ARISTOTLE Our character, basically, is a composite of our habits. “Sow a thought, reap an action; sow an action, reap a habit; sow a habit, reap a character; sow a character, reap a destiny,” the maxim goes.

You should grieve if a fictional character is killed. You should care.

Unmasking the intentions of a Satanic character: He cannot be both counselor and tyrant.

I can tell that I wouldn’t be attracted to him, but that is true of every man except for a few very specific celebrities, and some fictional male characters who were written by women.

The humble rarely brag about accomplishments because they are typically significant, and their mannerism is one of confidence; but those with low self-esteem have developed a character of conceit and deception. You’re thinking of one now.

Consciously, intentionally, and consistently living out how we want our children to turn out is the most powerful and effective character training there is.

Our character is revealed under pressure.

Courage. Kindness. Friendship. Character. These are the qualities that define us as human beings, and propel us, on occasion, to greatness.

But by the grace of God I am what I am." ~1 Corinthians 15:10 "Paul was alluding here to his honest response to those who were constantly criticizing, slandering, and defaming him and his character. This was the 'thorn' in his side!!!

The most important ingredient we put into any relationship is not what we say or what we do, but what we are. And if our words and our actions come from superficial human relations techniques (the Personality Ethic) rather than from our own inner core (the Character Ethic), others will sense that duplicity.

By the second week of November 1990, a new character had begun to spring forth in Kurt's journal writings, and this figure would soon make its way into almost every image, song, or story. He intentionally misspelled its name, and in doing so he was granting it a life of its own. Oddly, he gave it a female persona, but since it became his great love that Fall - and even made him throw up, just like Tobi - there was a fairness in this gender choice. He called it 'heroine'.

You are your own story, not a character in someone else’s.

Chocolateism: Maintain your integrity even in the atmosphere of compromise, for it only takes one step in compromise, to start losing character.

Character is what we do when no one else is watching" ~R. Alan Woods [2012]

Live real strong in union with Christ". ~R. Alan Woods [2013]

I will continue to judge on the content of character and not the shape or color of a mortal coil. My heart demands no less of me, my spiritual peace must be held as the utmost goal.

The inside-out approach says that private victories precede public victories, that making and keeping promises to ourselves precedes making and keeping promises to others. It says it is futile to put personality ahead of character, to try to improve relationships with others before improving ourselves.

I especially loved the Old Testament. Even as a kid I had a sense of it being slightly illicit. As though someone had slipped an R-rated action movie into a pile of Disney DVDs. For starters Adam and Eve were naked on the first page. I was fascinated by Eve's ability to always stand in the Garden of Eden so that a tree branch or leaf was covering her private areas like some kind of organic bakini. But it was the Bible's murder and mayhem that really got my attention. When I started reading the real Bible I spent most of my time in Genesis Exodus 1 and 2 Samuel and 1 and 2 Kings. Talk about violent. Cain killed Abel. The Egyptians fed babies to alligators. Moses killed an Egyptian. God killed thousands of Egyptians in the Red Sea. David killed Goliath and won a girl by bringing a bag of two hundred Philistine foreskins to his future father-in-law. I couldn't believe that Mom was so happy about my spending time each morning reading about gruesome battles prostitutes fratricide murder and adultery. What a way to have a "quiet time." While I grew up with a fairly solid grasp of Bible stories I didn't have a clear idea of how the Bible fit together or what it was all about. I certainly didn't understand how the exciting stories of the Old Testament connected to the rather less-exciting New Testament and the story of Jesus. This concept of the Bible as a bunch of disconnected stories sprinkled with wise advice and capped off with the inspirational life of Jesus seems fairly common among Christians. That is so unfortunate because to see the Bible as one book with one author and all about one main character is to see it in its breathtaking beauty.

Interdependence is a choice only independent people can make. Dependent people cannot choose to become interdependent. They don’t have the character to do it; they don’t own enough of themselves.

The Character Ethic taught that there are basic principles of effective living, and that people can only experience true success and enduring happiness as they learn and integrate these principles into their basic character.

Great code didn’t always announce itself. Sometimes it came as a legendary snack. Sometimes it was the hidden patch that kept a whole structure from falling apart. Either way, she’d find it. And figure out what made it work.

The strength of one’s courage,” he repeated quietly, nodding and smiling. He held up his right hand like he was counting off. “Courage. Kindness. Friendship. Character. These are the qualities that define us as human beings, and propel us, on occasion, to greatness. And this is what the Henry Ward Beecher medal is about: recognizing greatness. “But how do we do that? How do we measure something like greatness? Again, there’s no yardstick for that kind of thing. How do we even define it? Well, Beecher actually had an answer for that.” He put his reading glasses on again, leafed through a book, and started to read. “ ‘Greatness,’ wrote Beecher, ‘lies not in being strong, but in the right using of strength.… He is the greatest whose strength carries up the most hearts …’ ” And again, out of the blue, he got all choked up. He put his two index fingers over his mouth for a second before continuing.

If you find yourself taken unawares by someone you thought you knew, recall that the character revealed is as much your own as otherwise. When it comes to Men and their myriad, mercenary natures, revelation always comes in twos.

He had a book to finish. Ten-thousand words. The other ninety thousand had been difficult. This last tenth seemed impossible. His plot had become derailed. He was unable to see his way through the smoke and coke dust of a mythical railway track that should stretch ahead. Yes, the characters were there, good and solid. Indeed, the story's engine was strong and had shunted yet forward and forward, with only one or two sharp halts. But six weeks ago he met the bumpers. R. was now stuck in a deserted station, his progress blocked. ("Out Back")

There is one thing that is common to every individual, relationship, team, family, organization, nation, economy, and civilization throughout the world—one thing which, if removed, will destroy the most powerful government, the most successful business, the most thriving economy, the most influential leadership, the greatest friendship, the strongest character, the deepest love. On the other hand, if developed and leveraged, that one thing has the potential to create unparalleled success and prosperity in every dimension of life. Yet, it is the least understood, most neglected, and most underestimated possibility of our time. That one thing is trust.

Breyona didn’t have to force a laugh. “Fellowship? Who do you think you are? Freedo the hobbit?” “It’s Frodo,” he said over his shoulder. “And if I was a character from L.O.T.R., I’d obviously by Strider.” Shaking his head, he continued down the trail, mumbling obscenities. “What is L.O.T.R.?” Shiv asked. “Who is this Freedo?” Both questions brought exasperated sighs from Bronson. “It stands for Lord of the Rings. Don’t you ever see any movies?” “Weren’t they books before they were movies?” Em asked. “They wrote them after,” Bronson said. Breyona winked at Danny. “That Freedo was hot,” she said loud enough for Bronson to hear. “Even with those dumb-ass furry feet, he’s my kind of cute.” Bronson threw his hands up. “Frodo. It’s Frodo. And he’s not hot!

Men, Kellhus had once told her, were like coins: they had two sides. Where one side of them saw, the other side of them was seen, and though all men were both at once, men could only truly know the side of themselves that saw and the side of others that was seen—they could only truly know the inner half of themselves and the outer half of others. At first Esmenet thought this foolish. Was not the inner half the whole, what was only imperfectly apprehended by others? But Kellhus bid her to think of everything she’d witnessed in others. How many unwitting mistakes? How many flaws of character? Conceits couched in passing remarks. Fears posed as judgements … The shortcomings of men—their limits—were written in the eyes of those who watched them. And this was why everyone seemed so desperate to secure the good opinion of others—why everyone played the mummer. They knew without knowing that what they saw of themselves was only half of who they were. And they were desperate to be whole. The measure of wisdom, Kellhus had said, was found in the distance between these two selves. Only afterward had she thought of Kellhus in these terms. With a kind of surpriseless shock, she realized that not once—not once!—had she glimpsed shortcomings in his words or actions. And this, she understood, was why he seemed limitless, like the ground, which extended from the small circle about her feet to the great circle about the sky. He had become her horizon. For Kellhus, there was no distance between seeing and being seen. He alone was whole. And what was more, he somehow stood from without and saw from within. He made whole …

characters. This book is not to teach you BDSM, so please do not take it as a how-to. There is a lot of bondage without aftercare. My FMCs (female main characters) love their Heroes as they are—unapologetic. If you need a groveling Hero, this book is not for you.

The attraction of the story was that I didn’t lay out any plan and never knew what was going to happen in the next chapter until I came to it. It kept me in sympathy with the characters, because when they went to bed each night they knew no more about what was going to happen next day than I did when I turned out the light on my desk and went to bed myself.

Shall I compare thee to a Shoggoth?

B.R. Ambedkar believed the tale was not so much about Ram’s character as it was about the unsustainability of the caste system that needed violence for its enforcement.

A selfless devotion. High-impact people don’t care about who gets the credit, and they never complain about the role they fill.

She is beautiful in the way only a haunted person can be, like a glimmer of light falling over fragments of shattered glass—dangerous if not treaded around with wary feet.

A well-developed and versed character will write the story for you.

Sow a thought, reap an action; sow an action, reap a habit; sow a habit, reap a character; sow a character, reap a destiny,

Sow a thought, reap an action; sow an action, reap a habit; sow a habit, reap a character; sow a character, reap a destiny,” the maxim goes.

sometimes it's not so much what the characters saying, but what they r feeling,thinking or doing that is important to an animated feature.

Certainly, it is a world of scarcity. But the scarcity is not confined to iron ore and arable land. The most constricting scarcities are those of character and personality.

Courage. Kindness. Friendship. Character. These are the qualities that define us as human beings, and propel us, on occasion, to greatness

Our character, basically, is a composite of our habits.

A Christian's duty, Lewis believed, is not simply to tolerate "X" but to make life with "X" an occasion to work on one's own character flaws.

There must be, in any complete revelation of God's mind and will and character and being, things hard for the beginner to understand; and the wisest and best of us are but beginners.

I’d managed to type more than two hundred consecutive pages about more or less the same characters who stayed more or less in the same place and more or less took part in the same story.

A king is a man strong of character and conviction who leads by example and truly cares for the sufferings of his people,” he lectured. “Not a brute who rules simply because he is the strongest.

The only thing that walks back from the tomb with the mourners and refuses to be buried is the character of a man. This is true. What a man is survives him. It can never be buried. " -J. R. MILLER

The synoptic Gospels of the New Testament manuscripts make us aware of Christ's character and gives us a view of the 'son-ship' He modeled which flowed out of that Divine character." ~R. Alan Woods [2013]

Everything we learn—economics, philosophy, biology, mathematics—has to be understood in light of the overarching reality of the character of God. That is why, in the Middle Ages, theology was called “the queen of the sciences” and philosophy “her handmaiden.” Today the queen has been deposed from her throne and, in many cases, driven into exile, and a supplanter now reigns. We have replaced theology with religion.

In Classical Chinese, the characters 二心 referred to disloyal or traitorous intentions; literally, they translated as ‘two hearts’. And Robin found himself in the impossible position of loving that which he betrayed, twice.

As one might expect, lawyers don’t rate very high on the trust meter. As one of my characters said in Chapter 4 of The Grievance Committee–Book One, “Only fiction writers and lawyers get paid to lie.” So, can you trust a lawyer?

I was new Christian. My conversation had been sudden and dramatic, a replica for me of the Damascus Road. My life had been turned upside down,, and I was filled with zeal for the sweetness of Christ. I was consumed with a new passion. To study the Scripture. To learn hoe to pray. To conquer the vices that assaulted my character. To grow in grace. I wanted desperately to make my life count for Christ. My soul was singing, "Lord, I want to be a Christian.

Bad horror stories concern themselves with six ways to kill a vampire, and graphic accounts of how the rats ate Billy's genitalia. Good horror stories are about larger things. About hope and despair. About love and hatred, lust and jealousy. About friendship and adolescence and sexuality and rage, loneliness and alienation and psychosis, courage and cowardice, the human mind and body and spirit under stress and in agony, the human heart in unending conflict with itself. Good horror stories make us look at our reflections in dark distorting mirrors, where we glimpse things that disturb us, things that we did not really want to look at. Horror looks into the shadows of the human soul, at the fears and rages that live within us all. But darkness is meaningless without light, and horror is pointless without beauty. The best horror stories are stories first and horror second, and however much they scare us, they do more than that as well. They have room in them for laughter as well as screams, for triumph and tenderness as well as tragedy. They concern themselves not simply with fear, but with life in all its infinite variety, with love and death and birth and hope and lust and transcendence, with the whole range of experiences and emotions that make up the human condition. Their characters are people, people who linger in our imagination, people like those around us, people who do not exist solely to be the objects of violent slaughter in chapter four. The best horror stories tell us truths.

There are three types of actions: purposeful, habitual, and gratuitous. Characters, to be immediate and apprehensible, must be presented by all three.' Katin looked toward the front of the car. The captain gazed through the curving plate that lapped the roof. His yellow eyes fixed Her consumptive light that pulsed fire-spots in a giant cinder. The light was so weak he did not squint at all. I am confounded, Katin admitted to his jeweled box, 'nevertheless. The mirror of my observation turns and what first seemed gratuitous I see enough times to realize it is a habit. What I suspected as habit now seems part of a great design. While what I originally took as purpose explodes into gratuitousness. The mirror turns again, and the character I thought obsessed by purpose reveals his obsession is only habit; his habits are gratuitously meaningless; while those actions i construed as gratuitous now reveal a most demonic end.

You know,’ said Robin, ‘there’s a Chinese character, xiǎn,* which can mean “rare, fresh, and tasty”. But it can also mean “meagre and scanty”.’ Ramy spat the truffle into a napkin. ‘Your point?’ ‘Sometimes rare and expensive things are worse.

Listen: Love your fiction, even if you hate the act of creating that fiction, love the stories to a fault. Cry at your tragedies, laugh at your jokes, rejoice at your character's victories — or give it all up and go knit a damned sweater, instead.

She's one you *really* care about, isn't she?" Eliot shook his head. "How can you read other people so well, and completely misread me?" Frowning, Sophie asked, "What do you mean?" Looking right into her eyes, Eliot said, "I care about *all* of them.

Indeed, the reason the fall is such a tragedy is precisely because humans have such high value to begin with. When a cheap trinket is broken, we toss it aside without a second thought. But when a priceless work of art is destroyed, we are heartbroken. The reason sin is so tragic is that it destroys a human being—a priceless masterpiece that reflects the character of the Supreme Artist.

Secret Saturdays ought to be required reading at middle schools everywhere. Maldonado gives us both voice and heart. His young characters navigate a challenging world with endearing earnestness, lively style, and a heartening desire for true friendship and dignity.

Tyrants are willing to commit to anything…including mass murder to maintain their domination over every human being alive. They abuse the lives of the people they are entrusted with by the perverse dictates that they, themselves, would never live by. And they feel justified in this by their own self-righteous elite morality, which sets them high above everyone else in their own minds. You and I, however, are made of quite different stuff. Our words are filled with our true beliefs and backed by the honesty of our actions. We take great pride in not only who we are…but overcoming the struggle it took to make us this way. We are men and women of character…principles…and courage!

Or more important, I an a Christian (which can be deduced from my stories), and in fact a Roman Catholic. The latter "fact" perhaps cannot be deduced; though one critic (by letter) asserted that the invocations of Elbereth, and the character of Galadriel as directly described (or through the words of Gimli and Sam) were clearly related to Catholic devotion to Mary. Another saw in waybread (lembras)=vaticum and the reference to its feeding the will (vol. III, p. 213) and being more potent when fasting, a derivation from the Eucharist. (letter 213)

He drew the character in the air: 旦. 'Up top is the radical for the sun – rì.' He drew 日. 'And under that, a line. And I'm just thinking about how it's beautiful because it's so simple. It's the most direct use of pictography, see. Because dawn is just the sun coming up over the horizon.

The fundamental metaphor of National Socialism as it related to the world around it was the garden, not the wild forest. One of the most important Nazi ideologists, R.W. Darré, made clear the relationship between gardening and genocide: “He who leaves the plants in a garden to themselves will soon find to his surprise that the garden is overgrown by weeds and that even the basic character of the plants has changed. If therefore the garden is to remain the breeding ground for the plants, if, in other words, it is to lift itself above the harsh rule of natural forces, then the forming will of a gardener is necessary, a gardener who, by providing suitable conditions for growing, or by keeping harmful influences away, or by both together, carefully tends what needs tending and ruthlessly eliminates the weeds which would deprive the better plants of nutrition, air, light, and sun. . . . Thus we are facing the realization that questions of breeding are not trivial for political thought, but that they have to be at the center of all considerations, and that their answers must follow from the spiritual, from the ideological attitude of a people. We must even assert that a people can only reach spiritual and moral equilibrium if a well-conceived breeding plan stands at the very center of its culture.

It doesn't translate well into English. It means "whereabouts". A place where one feels like home, where they feel like themselves. She wrote out the kanji characters for him in the air - 居場所 - and he recognised their Chinese equivalents. The character for a residence. The characters for a place.

The New Testament uses five main Greek words for sin, which together portray its various aspects, both passive and active. The commonest is hamartia, which depicts sin as a missing of the target, the failure to attain a goal. Adikia is ‘unrighteousness’ or ‘iniquity’, and ponēria is evil of a vicious or degenerate kind. Both these terms seem to speak of an inward corruption or perversion of character. The more active words are parabasis (with which we may associate the similar paraptōma), a ‘trespass’ or ‘transgression’, the stepping over a known boundary, and anomia, ‘lawlessness’, the disregard or violation of a known law. In each case an objective criterion is implied, either a standard we fail to reach or a line we deliberately cross.

We are all sinners—and yet our creator still loves us. And if the prerequisite for true romantic love was an unassailable history and character? The shit wouldn’t happen for anybody. You’re worthy of love. You deserve to be respected and cherished, and to get that, you don’t need to be anything different than you are. You have been created for a reason. You’re here for a reason. You have a purpose, and you have to believe that you’ll find someone who will help you in that purpose. And until that happens? All you really need to know is that you don’t have to be validated by anybody but yourself. You are enough.

There was a restlessness between her ribs, itching and pulling at her heart. A feeling that she was meant to do much more. She and Roxy had gone to see Dead Poets Society a couple years ago, and afterward that quote from Robin Williams’s character had echoed endlessly in Luna’s head: “Make your lives extraordinary.

Without our realizing it, we were trained to think that the most significant people are star athletes, actors, and musicians—the ones we applaud, those whose autographs others seek. They aren’t. Not really. Most often, the people worth noting are the individuals who turn a “nobody” into a “somebody” but never receive credit.

The Beatitudes reveal the profile of the Christian, the character of the one who has had a life-changing encounter with the grace of God. In light of God's overwhelming goodness, the sinner sees his own poverty of spirit and mourns not only for his own sin but also for the spiritual sickness of the world. Therefore, he grows meek and longs for all the more earnestly for true righteousness. Therefore, he practices mercy and enjoys purity and makes peace. Therefore, he gladly endures persecution for the sake of Jesus.

We soften the language. We take out all references to “Chinks” and “Coolies.” Perhaps you mean this as subversive, writes Daniella in the comments, but in this day and age, there’s no need for such discriminatory language. We don’t want to trigger readers. We also soften some of the white characters. No, it’s not as bad as you think. Athena’s original text is almost embarrassingly biased; the French and British soldiers are cartoonishly racist. I get she’s trying to make a point about discrimination within the Allied front, but these scenes are so hackneyed that they defy belief. It throws the reader out of the story. Instead we switch one of the white bullies to a Chinese character, and one of the more vocal Chinese laborers to a sympathetic white farmer. This adds the complexity, the humanistic nuance that perhaps Athena was too close to the project to see.

It must be constantly remembered that the Qu r’ān is not just descriptive but is primarily prescriptive. Both the content of its message and the power of the form in which it is conveyed are designed not so much to "inform" men in any ordinary sense of the word as to change their character. The psychological impact and the moral import of its statements, therefore, have a primary role. Phrases like "God has sealed their hearts, blinded their eyes, deafened them to truth” in the Qur’ān do have a descriptive meaning in terms of the psychological processes described earlier; but even more primarily in such contexts, they have a definite psychological intention: to change the ways of men in the right direction.

A king is a man strong of character and conviction who leads by example and truly cares for the sufferings of his people,

And I'm drinking to dull the bitch in me that wishes she were dead.

Most self-imposed burdens are founded on misperceptions. We—at least we of sincere character—always judge ourselves by stricter standards than we expect others to abide by.

But who’s going to follow all of that? It’s hard to sympathize with the stakes in the absence of a main character.

All those years I had watched so many people ridicule and hurt him, and yet his inner resilience had remained intact.

NOBODIES HAVE LASTING SIGNIFICANCE

Good fiction can help us to expand our circle of empathy to include people unlike ourselves.- R' Eitan Levy

Character Ethic as the foundation of success—things like integrity, humility, fidelity, temperance, courage, justice, patience, industry, simplicity, modesty, and the Golden Rule.

On Writing About Nora Hawks I write about a female character to try, in vain, to understand two things: the purpose of life, and women.

Character primarily is honesty with God, ones-self, and others." ~R. Alan Woods [2013]

FAMILY. The ties that bind. The cement that builds character, strength of purpose, mutual respect, values.

The wealth of our character is determined by what we push ourselves to become.

You belong in an insane asylum, you know that?" "Maybe my next case...

What did we talk about? I don't remember. We talked so hard and sat so still that I got cramps in my knee. We had too many cups of tea and then didn't want to leave the table to go to the bathroom because we didn't want to stop talking. You will think we talked of revolution but we didn't. Nor did we talk of our own souls. Nor of sewing. Nor of babies. Nor of departmental intrigue. It was political if by politics you mean the laboratory talk that characters in bad movies are perpetually trying to convey (unsuccessfully) when they Wrinkle Their Wee Brows and say (valiantly--dutifully--after all, they didn't write it) "But, Doctor, doesn't that violate Finagle's Constant?" I staggered to the bathroom, released floods of tea, and returned to the kitchen to talk. It was professional talk. It left my grey-faced and with such concentration that I began to develop a headache. We talked about Mary Ann Evans' loss of faith, about Emily Brontë's isolation, about Charlotte Brontë's blinding cloud, about the split in Virginia Woolf's head and the split in her economic condition. We talked about Lady Murasaki, who wrote in a form that no respectable man would touch, Hroswit, a little name whose plays "may perhaps amuse myself," Miss Austen, who had no more expression in society than a firescreen or a poker. They did not all write letters, write memoirs, or go on the stage. Sappho--only an ambiguous, somewhat disagreeable name. Corinna? The teacher of Pindar. Olive Schriener, growing up on the veldt, wrote on book, married happily, and ever wrote another. Kate Chopin wrote a scandalous book and never wrote another. (Jean has written nothing.). There was M-ry Sh-ll-y who wrote you know what and Ch-rl-tt- P-rk-ns G-lm-an, who wrote one superb horror study and lots of sludge (was it sludge?) and Ph-ll-s Wh--tl-y who was black and wrote eighteenth century odes (but it was the eighteenth century) and Mrs. -nn R-dcl-ff- S-thw-rth and Mrs. G--rg- Sh-ld-n and (Miss?) G--rg-tt- H-y-r and B-rb-r- C-rtl-nd and the legion of those, who writing, write not, like the dead Miss B--l-y of the poem who was seduced into bad practices (fudging her endings) and hanged herself in her garter. The sun was going down. I was blind and stiff. It's at this point that the computer (which has run amok and eaten Los Angeles) is defeated by some scientifically transcendent version of pulling the plug; the furniture stood around unknowing (though we had just pulled out the plug) and Lady, who got restless when people talked at suck length because she couldn't understand it, stuck her head out from under the couch, looking for things to herd. We had talked for six hours, from one in the afternoon until seven; I had at that moment an impression of our act of creation so strong, so sharp, so extraordinarily vivid, that I could not believe all our talking hadn't led to something more tangible--mightn't you expect at least a little blue pyramid sitting in the middle of the floor?

We also soften some of the white characters. No, it’s not as bad as you think. Athena’s original text is almost embarrassingly biased; the French and British soldiers are cartoonishly racist.

I even try to teach myself Mandarin, but no matter how hard I try, all the characters look as unrecognizable as chicken scratch, and the different tones feel like an elaborate practical joke,

Unless you’re influenced by my uniqueness, I’m not going to be influenced by your advice. So if you want to be really effective in the habit of interpersonal communication, you cannot do it with technique alone. You have to build the skills of empathic listening on a base of character that inspires openness and trust. And you have to build the Emotional Bank Accounts that create a commerce between hearts.

Not many people can imagine a president of the Parlement of Aix—it is a species of beast of which people have often spoken without knowing it well: strict and unbending by profession, and pernickety, credulous, stubborn, vain, cowardly, garrulous and stupid by character; with a beaky little face, rolling his 'r's like a Punchinello, commonly as thin as a rake, lanky and skinny and stinking like a corpse...

An anomaly which often struck me in the character of my friend Sherlock Holmes was that, although in his methods of thought he was the neatest and most methodical of mankind, and although also he affected a certain quiet primness of dress, he was none the less in his personal habits one of the most untidy men that ever drove a fellow-lodger to distraction. Not that I am in the least conventional in that respect myself. The rough-and-tumble work in Afghanistan, coming on the top of a natural Bohemianism of disposition, has made me rather more lax than befits a medical man. But with me there is a limit, and when I find a man who keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece, then I begin to give myself virtuous airs. I have always held, too, that pistol practice should be distinctly an open-air pastime; and when Holmes, in one of his queer humors, would sit in an arm-chair with his hair-trigger and a hundred Boxer cartridges, and proceed to adorn the opposite wall with a patriotic V. R. done in bullet-pocks, I felt strongly that neither the atmosphere nor the appearance of our room was improved by it.

If anyone views himself as being totally perfect in the actual sense of the word, he is undoubtedly imperfect in God's eyes. For the thought alone is one of presumption, impurity and imperfection. One may rightly strive for perfection pertaining to character and spirit, but must bear in mind that he will never reach its purest form within this human body. The fact that he has strived for it until the end has made him 'perfect' in the eyes of God.

The study of theology is simply the study of the character of God, whose crowning virtue is love. Sound theology actually teaches the central importance of love and inclines us to love the God of the Scriptures and other people as well.

What happens when we do this time after time? What’s the net result of repeated failure to make and keep commitments to ourselves? It hacks away at our self-confidence. Not only do we lose trust in our ability to make and keep commitments, we fail to project the personal strength of character that inspires trust. We may try to borrow strength from position or association. But it’s not real. It’s not ours . . . and people know it. And whether we realize it or not, that impacts the bottom line.

Most incarcerated women—nearly two-thirds—are in prison for nonviolent, low-level drug crimes or property crimes. Drug laws in particular have had a huge impact on the number of women sent to prison. “Three strikes” laws have also played a considerable role. I started challenging conditions of confinement at Tutwiler in the mid-1980s as a young attorney with the Southern Prisoners Defense Committee. At the time, I was shocked to find women in prison for such minor offenses. One of the first incarcerated women I ever met was a young mother who was serving a long prison sentence for writing checks to buy her three young children Christmas gifts without sufficient funds in her account. Like a character in a Victor Hugo novel, she tearfully explained her heartbreaking tale to me. I couldn’t accept the truth of what she was saying until I checked her file and discovered that she had, in fact, been convicted and sentenced to over ten years in prison for writing five checks, including three to Toys “R” Us. None of the checks was for more than $150. She was not unique. Thousands of women have been sentenced to lengthy terms in prison for writing bad checks or for minor property crimes that trigger mandatory minimum sentences. The collateral consequences of incarcerating women are significant. Approximately 75 to 80 percent of incarcerated women are mothers with minor children. Nearly 65 percent had minor children living with them at the time of their arrest—children who have become more vulnerable and at-risk as a result of their mother’s incarceration and will remain so for the rest of their lives, even after their mothers come home. In 1996, Congress passed welfare reform legislation that gratuitously included a provision that authorized states to ban people with drug convictions from public benefits and welfare. The population most affected by this misguided law is formerly incarcerated women with children, most of whom were imprisoned for drug crimes. These women and their children can no longer live in public housing, receive food stamps, or access basic services. In the last twenty years, we’ve created a new class of “untouchables” in American society, made up of our most vulnerable mothers and their children.

You may be a serious writer if …. 10. your hard drive is littered with random notes and story ideas … but not nearly as littered as your head. 9. you keep pen and paper next to your bed. And in the glove compartment. And in your gym bag. Also on the rim of the bathtub. 8. a day without Roget’s Thesaurus is a day without sunshine. 7. your emotional landscape includes creativity, confidence, elation, frustration, and the occasional neurosis. 6. you’ve ever had to clean peanut butter and bread crumbs off your keyboard, because the work was going well, and you didn’t want to stop for lunch. 5. grammar and punctuation turn you on. 4. your interest in a new acquaintance is directly proportionate to his/her potential as a secondary character. 3. you’ve worn the white e, r, s, and t clean off your keyboard. 2. the search history on your web browser would raise red flags with the FBI, CIA, DEA, and mental health professionals everywhere. 1. you have stories to tell, and you just. Keep. Telling. Them.

One glance at the girl convinced R. Jones that he had been right. Circumstances had made him a rapid judge of character, for in profession of living by one's wits in a large city, the first principle of offence and defence is to sum people up at first sight.

The character of Jesus can only be ultimately known experientially through the indwelling of His Spirit in union with us." ~"The character of Jesus can only be ultimately known experientially through the indwelling of His Spirit in union with us." ~R. Alan Woods [2013]

But even in such works where the author is ideally unobtrusive, he remains diffused through the book so that his very absence becomes a kind of radiant presence. As the French say, il brille par son absence — "he shines by his absence." In connection with Bleak House we are concerned with one of those authors who are so to speak not supreme deities, diffuse and aloof, but puttering, amiable, sympathetic demigods, who descend into their books under various disguises or send therein various middlemen, representatives, agents, minions, spies, and stooges. [...] Roughly speaking, there are three types of such representatives. Let us inspect them. First, the narrator insofar as he speaks in the first person, the capital I of the story, its moving pillar. [...] Second, a type of author's representative, what I call the sifting agent. [...] The third type is the so-called perry, possibly derived from periscope, despite the double r, or perhaps from parry in vague connection with foil as in fencing. But this does not matter much since anyway I invented the term myself many years ago.

It throws the reader out of the story. Instead we switch one of the white bullies to a Chinese character, and one of the more vocal Chinese laborers to a sympathetic white farmer. This adds the complexity, the humanistic nuance that perhaps Athena was too close to the project to see.

You want the reader to care about your characters — if they don’t, then there’s no emotional involvement. But at the same time, I want my characters to be nuanced, to be gray, to be human beings. I think human beings are all nuanced. There’s this tendency to want to make people into heroes and villains. And I think there are villains in real life and there are heroes in real life. But even the greatest heroes have flaws and do bad things, and even the greatest heroes are capable of love and pain and occasionally have moments where you can feel sympathetic for them.

We are fortified by exemplary lives, especially those who have earned the right to be respected by their character, sacrifice, patience, and ability to press on in spite of hardship, injustice, pain, and failure. Our heroes do not have to be perfect. They must, however be courageous, authentic, clear-minded, and determined to endure no matter the sacrifice or cost. We need heroes of integrity and consistency, admirable men and women we can admire, not because they exemplify a quick burst of bravery, but because they represent the stuff of greatness and stay at it to the end.

The hardest part is keeping track of all the characters. We change almost a dozen names to reduce confusion. Two different characters have the last name Zhang, and four have the last name Li. Athena differentiates them by giving them different first names, which she only occasionally uses, and other names that I assume are nicknames (A Geng, A Zhu; unless A is a last name and I’m missing something), or Da Liu and Xiao Liu, which throws me for a loop because I thought Liu was a last name, so what are Da and Xiao doing there? Why are so many of the female characters named Xiao as well? And if they’re family names, does that mean everyone is related? Is this a novel about incest? But the easy fix is to give them all distinct monikers, and I spend hours scrolling through pages on Chinese history and baby name sites to find names that will be culturally appropriate.

Again and again, where Tolkien’s heroes make heroic choices, Jackson’s versions of these characters must be tricked or forced or involuntarily stumble into the courses of action that seem to make them heroes. It is important, therefore, to see just how important choice was to Tolkien, and to heroism.

When I read, I get so lost in the story, I forget where I am. Bucharest just melts away and I’m transported someplace else. I forget the time of day, sometimes even the year or the century. This may sound crazy, but I get myself all mixed up with the characters, like the story is actually happening to me.

Luxury Diamond, an encapsulation metal engraving style, with its long triangular serifs, wide stance, and decorative details like the notched “R” and curvaceous figures. There is also a Text family with a full lowercase character set. Good for: Raising a product’s perceived value. Filling horizontal space.

There seemed to be no end to the imaginative damage people could do to each other when the influences of societal pressures were removed. It tended to bring out one’s true character, and as he had discovered during his thirty-eight years of life, some people had true darkness lurking just below the surface.

same five websites. People make up absurd rumors about me. Someone says my past reviews on Goodreads are racist. (All I did was write once that I couldn’t relate to an Indian writer’s romance novel, because all the characters were unlikable and way too obsessed with their family duties to the point of disbelief.)

Beaner Weens, head cook at the Vicar’s Knickers, verbal dueling partner of Ann Tenna, and infamous character known for collecting bottles, cans, and golf balls while disguised as a moose, had by some unknown manner transformed himself into a popular guest on various paranormal podcasts. It earned him dozens of dollars.

If I try to use human influence strategies and tactics of how to get other people to do what I want, to work better, to be more motivated, to like me and each other—while my character is fundamentally flawed, marked by duplicity and insincerity—then, in the long run, I cannot be successful. My duplicity will breed distrust, and everything I do—even using so-called good human relations techniques—will be perceived as manipulative. It simply makes no difference how good the rhetoric is or even how good the intentions are; if there is little or no trust, there is no foundation for permanent success. Only basic goodness gives life to technique.

Our thinking goes like this: If there is a God at all, He is certainly not holy. If He is perchance holy, He is not just. Even if He is both holy and just, we need not fear because His love and mercy override His holy justice. If we can stomach His holy and just character, we can rest in one thing: He cannot possess wrath. If we think soberly for five seconds, we must see our error. If God is holy at all, if God has an ounce of justice in His character, indeed if God exists as God, how could He possibly be anything else but angry with us? We violate His holiness; we insult His justice; we make light of His grace. These things can hardly please Him.

Tyrion, Jon, Dany, Stannis and Melisandre, Davos Seaworth, and all the rest of the characters you love or love to hate will be along next year (I devoutly hope) in A Dance with Dragons, which will focus on events along the Wall and across the sea, just as the present book focused on King’s Landing. —George R. R. Martin June 2005

Though they have things in common, good writing and talented writing are not the same. […] If you start with a confused, unclear, and badly written story, and apply the rules of good writing to it, you can probably turn it into a simple, logical, clearly written story. It will still not be a good one. The major fault of eighty-five to ninety-five percent of all fiction is that it is banal and dull. Now old stories can always be told with new language. You can even add new characters to them; you can use them to dramatize new ideas. But eventually even the new language, characters, and ideas lose their ability to invigorate. Either in content or in style, in subject matter or in rhetorical approach, fiction that is too much like other fiction is bad by definition. However paradoxical it sounds, good writing as a set of strictures (that is, when the writing is good and nothing more) produces most bad fiction. On one level or another, the realization of this is finally what turns most writers away from writing. Talented writing is, however, something else. You need talent to write fiction. Good writing is clear. Talented writing is energetic. Good writing avoids errors. Talented writing makes things happen in the reader’s mind — vividly, forcefully — that good writing, which stops with clarity and logic, doesn’t.

Yes, I see,’ said Frodo. ‘For one thing, I see that you’re behind the times and the news here. Much has happened since you left the South. Your day is over, and all other ruffians’. The Dark Tower has fallen, and there is a King in Gondor. And Isengard has been destroyed, and your precious master is a beggar in the wilderness. I passed him on the road. The King’s messengers will ride up the Greenway now not bullies from Isengard.’ The man stared at him and smiled. ‘A beggar in the wilderness!’ he mocked. ‘Oh, is he indeed? Swagger it, swagger it, my little cock-a-whoop. But that won’t stop us living in this fat little country where you have lazed long enough. And’ - he snapped his fingers in Frodo’s face - ‘King’s messengers! That for them! When I see one, I’ll take notice, perhaps.’ This was too much for Pippin. His thoughts went back to the Field of Cormallen, and here was a squint-eyed rascal calling the Ring-bearer ‘little cock-a-whoop’. He cast back his cloak, flashed out his sword, and the silver and sable of Gondor gleamed on him as he rode forward. ‘I am a messenger of the King,’ he said. ‘You are speaking to the King’s friend, and one of the most renowned in all the lands of the West. You are a ruffian and a fool. Down on your knees in the road and ask pardon, or I will set this troll’s bane in you!

If the only vision we have of ourselves comes from the social mirror—from the current social paradigm and from the opinions, perceptions, and paradigms of the people around us—our view of ourselves is like the reflection in the crazy mirror room at the carnival. “You’re never on time.” “Why can’t you ever keep things in order?” “You must be an artist!” “You eat like a horse!” “I can’t believe you won!” “This is so simple. Why can’t you understand?” These visions are disjointed and out of proportion. They are often more projections than reflections, projecting the concerns and character weaknesses of people giving the input rather than accurately reflecting what we are.

Padmé insists: “There’s always a choice.” Does Anakin hear the echo of her voice decades later, when he decides to save their son from the Emperor? I like to think so. “YOU GET MANY OPPORTUNITIES TO KEEP YOUR EYES OPEN” Here’s Leia, speaking of Han’s apparent desertion of the rebellion in A New Hope: “A man must follow his own path. No one can choose it for him.” Here’s Obi-Wan to Luke, again in A New Hope: “Then you must do what you think is right, of course.” Here are Lucas’s own words: “Life sends you down funny paths. And you get many opportunities to keep your eyes open.” He was talking about his own life, but he might as well have been talking about Star Wars and the characters who populate it.

What then is the relation of law to morality? Law cannot prescribe morality, it can prescribe only external actions and therefore it should prescribe only those actions whose mere fulfillment, from whatever motive, the state adjudges to be conducive to welfare. What actions are these? Obviously such actions as promote the physical and social conditions requisite for the expression and development of free—or moral—personality.... Law does not and cannot cover all the ground of morality. To turn all moral obligations into legal obligations would be to destroy morality. Happily it is impossible. No code of law can envisage the myriad changing situations that determine moral obligations. Moreover, there must be one legal code for all, but moral codes vary as much as the individual characters of which they are the expression. To legislate against the moral codes of one’s fellows is a very grave act, requiring for its justification the most indubitable and universally admitted of social gains, for it is to steal their moral codes, to suppress their characters.

Sensitivity readers are readers who provide cultural consulting and critiques on manuscripts for a fee. Say, for example, a white author writes a book that involves a Black character. The publisher might then hire a Black sensitivity reader to check whether the textual representations are consciously, or unconsciously, racist. They’ve gotten more and more popular in the past few years, as more and more white authors have been criticized for employing racist tropes and stereotypes. It’s a nice way to avoid getting dragged on Twitter, though sometimes it backfires—I’ve heard horror stories of at least two writers who were forced to withdraw their books from publication because of a single subjective opinion.

Before, I was brazen, life was a new frontier waiting to be conquered. I had high hopes for this adventure called freedom. Almost the way you feel when you get your first apartment and you tell your parents “so long.” The high comes crashing down as soon as you realize there’s nobody around to scold or reward. With it comes the realization that the people you were so desperately trying to get away from are the ones who gave you definition and character, a daughter, a friend, a sister. All the things that describe who you are. You can’t be a daughter without a parent, you can’t be a friend without friends, you can’t be anything without the other. It’s the yin and yang of life, and I was here without yang. My

Closing the door behind him, Macdonald stood still in the darkness, as he had stood so often in other buildings. Houses, barns, shops, flats, warehouses, all dark, as this passage was dark, but having in the darkness their own character because each had its own peculiar smell. Gramarye smelt of floor polish and carbolic and soap: something of the unwelcoming smell of an institution, but behind the overlay of modern cleanliness, the smell of the ancient house declared itself, of old mortar, of stone walls built without damp courses, of woodwork decaying under coats of paint, of panelling and floor boards which gave out their ancient breath as the coldness of the stone house triumphed over the warmth of the midsummer evening.

The country remained the same, and was extremely uninteresting. The complete similarity of the productions throughout Patagonia is one of its most striking characters. The level plains of arid shingle support the same stunted and dwarf plants; and in the valleys the same thorn-bearing bushes grow. Everywhere we see the same birds and insects. Even the very banks of the river and of the clear streamlets which entered it, were scarcely enlivened by a brighter tint of green. The curse of sterility is on the land, and the water flowing over a bed of pebbles partakes of the same curse. Hence the number of waterfowl is very scanty; for there is nothing to support life in the stream of this barren river. (In regards to the steppes of Patagonia)

This section of Scripture reminds me of the rows of white crosses along the wind-swept hills of Normandy. We’re free today because, in June 1944, during the three-month battle of Normandy, nearly fifty-three thousand “nobodies” paid the ultimate price to defeat Nazi tyranny. No fewer than 9, 387 grave markers overlook Omaha Beach, many of them bearing the names of men who died during the first hours of the invasion called D-day. Beneath every white marker lies a person of significance because each one had an impact on the rest of history; each one made a difference. It’s a very moving place to be. Visitors to that patch of land near Colleville-sur Mer, France, frequently weep quietly because there the real heroes of the war are silently honored.

The nation has entered an age of post-constitutional soft tyranny. As French thinker and philosopher Alexis de Tocqueville explained presciently, “It covers the surface of society with a network of small complicated rules, minute and uniform, through which the most original minds and the most energetic characters cannot penetrate, to rise above the crowd. The will of man is not shattered, but softened, bent, and guided; men are seldom forced by it to act, but they are constantly restrained from acting. Such a power does not destroy, but it prevents existence; it does not tyrannize, but it compresses, enervates, extinguishes, and stupefies a people, till each nation is reduced to nothing better than a flock of timid and industrious animals, of which the government is the shepherd.

It was great but intense to try to go back into a character’s mind, a mind that is filled with self-loathing and a mind that is male. It is fun to try to psychoanalyze why a character acts and feels the way he/she does, and doing it as a different gender lends itself to many challenges. My desire to delve into the male psyche comes from many years of being drawn to men that seem to have a darker side. But there is also light in them, and it is that duality and intensity that makes me feel alive. Thorne is very much that man as is my first male protagonist, Michael, from the Natalie’s Edge series. Each man, while plagued with a dark past and demons, has this glorious light within them, fighting noble causes. I picture them as true anti-heroes, like the likes of Batman, the Dark Knight.

My purpose in beginning the John Wimber biography project was to honor his rich legacy of teaching, his extraordinary character, and the positive & beneficial impact his life has had on my journey as a 'follower of Christ'. I esteem John Wimber's teachings, writing, and impact upon the Body of Christ to be equal with that of C.S. Lewis, Dorothy Sayers, John F. Banks, D.L. Moody, and Leanne Payne.

The prescription for spiritual transformation has often been too individualistically oriented. We are encouraged to engage in spiritual disciplines so that we might have the power to do what we can’t do by will power alone. But what happens when people don’t have the “will power” to engage spiritual disciples on a consistent basis? Our character is left untended. “In a wild world like ours, your character, left untended, will become a stale room, an obnoxious child, a vacant lot filled with thorns, weeds, broken bottles, raggedy grocery bags, and dog droppings. Your deepest channels will silt in, and you will feel yourself shallowing. You’ll become a presence neither you nor others will enjoy, and you and they will spend more and more time and energy trying to be anywhere else.”[1] So what are we to do?

If I hope in anything or anyone less than One who has power over suffering and, ultimately, death, I am doomed to final disappointment. Suffering will drive me to hopelessness. What character I have will disintegrate. It is the hope of Christ that makes it possible for us to persevere in times of tribulation and distress. We have an anchor for our souls that rests in the One who has gone before us and conquered.

As the lives of their characters develop, they end up on paths that writers could not possibly have foreseen—and hence give the impression of agency, even to their authors. William Blake wrote of his works “tho I call them Mine I know they are not Mine,” and characterized his process of writing as a kind of dictation, “without Premeditation or even against my Will.” Musicians sometimes speak in exactly the same way.

Westerners often define spirituality as denying oneself, being detached from earthly concerns, and being intent on otherworldly values. By contrast, the Hebrews experienced the world of spirit as robust, life-affirming, and this-worldly in character. Such was the "spiritual" orientation of the Hebrews. So-called spirituality did not come by negating the richness of life's experiences or withdrawing from the world. Instead, they affirmed creation by finding a sense of holiness in the here and now. There was no division between the sacred and secular areas of life. It was all God's world, and it was to be enjoyed without a sense of shame or guilt. In Paul's words, "to the pure, all things are pure" (Tit. 1:15). As trustees and stewards of God's world, human beings were to live within it and use it in accord with divine directives.

Now that the story’s been complicated, it’s not so satisfying to lambast me for stealing from a lovely, innocent victim. Now Athena is a pretentious snob, a maybe-racist (no one can really make up their minds on that one), a definite Han Chinese supremacist, and a thief in her own right for her representations of Korean and Vietnamese characters. Athena is the liar, the hypocrite. Athena Liu Is Posthumously Canceled.

To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren

If I try to use human influence strategies and tactics of how to get other people to do what I want, to work better, to be more motivated, to like me and each other—while my character is fundamentally flawed, marked by duplicity and insincerity—then, in the long run, I cannot be successful. My duplicity will breed distrust, and everything I do—even using so-called good human relations techniques—will be perceived as manipulative.

Yet it is also a tonic and an antidote to dullness to be with the Serbs. They possess the irresponsible gaiety that we traditionally connect with the Irish, with whom they have often been compared. Other less convenient sides of the Irish character are also typical in the Serbs, such as a cheerful contempt for punctuality in daily life and a ready willingness, arising clearly from politeness and good nature, to make promises that are not always fulfilled. But perhaps the most pronounced of these similarities is to be found in the songs of Serbia and Ireland. With both peoples the historic songs about the past are songs of sorrow, or noble struggles against overwhelming odds, of failure redeemed by unconquerable resolve. There is nothing strange in this combination of laughing gaiety and profound melancholy. It is often only those who are truly capable of the one emotion who also have the faculty for the other.

I wear the mask of a well mannered distant relative. A young lady who crosses her legs at the ankles and laughs at banal jokes. That is a new character for me however. I have not mastered her yet. I have grasped the characters; enigmatic temporary love interest, reliable employee, my mother's aidful daughter, unobjectionable patron at a store or restaurant. In the past I learned to play shy teenage girl, tidy roommate, and diligent student through some trial and error, but those roles are behind me now, thank god.

Many children make up, or begin to make up, imaginary languages. I have been at it since I could write. But I have never stopped, and of course, as a professional philologist (especially interested in linguistic aesthetics), I have changed in taste, improved in theory, and probably in craft. Behind my stories is now a nexus of languages (mostly only structurally sketched). But to those creatures which in English I call misleadingly Elvesfn11 are assigned two related languages more nearly completed, whose history is written, and whose forms (representing two different sides of my own linguistic taste) are deduced scientifically from a common origin. Out of these languages are made nearly all the names that appear in my legends. This gives a certain character (a cohesion, a consistency of linguistic style, and an illusion of historicity) to the nomenclature, or so I believe, that is markedly lacking in other comparable things. Not all will feel this as important as I do, since I am cursed by acute sensibility in such matters.

One of the most important variables in whether an enterprise remains great lies in a simple question: what is the truth about the inner motivations, character, and ambition of those who hold power? Their true, internal motivations will absolutely show up in their decisions and actions—if not immediately, then over time, and certainly under duress—no matter what they say or how they pose. And thus, we return full circle to a central tenet of Covey’s framework: build inner character first—private victory before public victory.

Home is among the holiest of words. A true home is one of the most sacred of places. It is a sanctuary into which men flee from the world's perils and alarms. It is a resting-place to which at close of day the weary retire to gather new strength for the battle and toils of tomorrow. It is the place where love learns its lessons, where life is schooled into discipline and strength, where character is molded. Out of the homes of a community comes the life of the community, as a river from the thousand springs that gush out on the hillsides.” -J.R. Miller

These minor, natural flaws did not explain why hers was but the deceptive beauty of the poisoned apple. It was not merely that she was shallow, a creature of simple malice: within her tiny skull a storm raged, hectic, vicious and vengeful. The depths of her character were murky and she herself, had she made the attempt, would struggle to rationalise her behaviour. In morals she was well-versed, for they had been imparted to her through fables as a young child, yet she could find no trace of villainy in her own actions. In her skewed world-view she was set apart.

Wesley's theology was, then, largely a theology of reaction. Most of his theological output had polemical overtones, and some works were devoted exclusively to that end. The direction and the intensity of the challenge determined the character and strength of his reply. When this is taken into account, there is no contradiction between his teaching on Baptism and on the Lord's Supper. The Protestant and Catholic strands in Wesley's thought are held together in both cases, but the expression of their relative importance depends on the situation which is being addressed.

In The Acharnians of 425 B.C., for example, the protagonist arranges a separate peace treaty with the Spartans for himself and his family while humiliating a character who portrays one of Athens’s prominent military commanders of the time. In other words, the triumphant hero in this play was a traitor who got away with betraying Athens. The play won first prize in competition for comedies that year, a fact that underlines the strength of the freedom of public speech in Classical Age Athens and suggests just how much many citizens yearned to end the war and return to “normal” life.

It is widely unknown, but nonetheless true that Catholicism fervently promotes the 'spiritual disciplines' whereas Protestantism has largely neglected them altogether. Does 'volunteerism' facilitate the formation of Christ's character in us or rather does it reveal our level of Christ-like maturity through the work of the Holy Spirit in us? Jesus modeled son-ship and gave all of His time, shared his talents,and invested all of His treasure while affirming others as He proclaimed through demonstrations the Kingdom of God.'Christ-likeness cannot be self-efforted' (Woods, 2007)." ~R. Alan Woods [2013]

For too often with these very powerful individuals, their true gift is a curse: they are simply not bounded by decency, and their ruthlessness that so many praise is to the detriment of them and—most important—of those around them. They are foul beyond the expectations of those they dupe. Coercing a populace to get behind you by lying to them isn’t brilliant. Great orators playing an audience based on their predisposed beliefs—or, worse, fears—by making promises they know they cannot keep isn’t a sign of brilliance or intelligence. Nay, it’s merely a clear indication of a lack of ethics and character.

We also soften some of the white characters. No, it’s not as bad as you think. Athena’s original text is almost embarrassingly biased; the French and British soldiers are cartoonishly racist. I get she’s trying to make a point about discrimination within the Allied front, but these scenes are so hackneyed that they defy belief. It throws the reader out of the story. Instead we switch one of the white bullies to a Chinese character, and one of the more vocal Chinese laborers to a sympathetic white farmer. This adds the complexity, the humanistic nuance that perhaps Athena was too close to the project to see.

At the very heart of our Circle of Influence is our ability to make and keep commitments and promises. The commitments we make to ourselves and to others, and our integrity to those commitments, is the essence and clearest manifestation of our proactivity. It is also the essence of our growth. Through our human endowments of self-awareness and conscience, we become conscious of areas of weakness, areas for improvement, areas of talent that could be developed, areas that need to be changed or eliminated from our lives. Then, as we recognize and use our imagination and independent will to act on that awareness—making promises, setting goals, and being true to them—we build the strength of character, the being, that makes possible every other positive thing in our lives. It is here that we find two ways to put ourselves in control of our lives immediately. We can make a promise—and keep it. Or we can set a goal—and work to achieve it. As we make and keep commitments, even small commitments, we begin to establish an inner integrity that gives us the awareness of self-control and the courage and strength to accept more of the responsibility for our own lives. By making and keeping promises to ourselves and others, little by little, our honor becomes greater than our moods.

They have loved her so fondly that people might confuse it for romance when it was always admiration. Sometimes, the wallflower thinks, their friend is a goddess. However, they never wanted to put her up on a pedestal. Not even now. This book in their hands is just a small thanks. A way of hoping to reach her heart in the way her writings have theirs. Maybe not all the collected stories will rattle the hearts like hers. After all, they have only started to write. But the wallflower hopes that their stories are being read by their friend and that they will understand how much they mean to them. But until then – they will attempt to find the words for these characters and their lives within these pages.

Honestly, I'm relieved. Finally someone's calling Athena out on her bullshit, on her deliberately confusing sentence structures and cultural allusions. Athena likes to make her audience "work for it." On the topic of cultural exposition, she's written that she doesn't "see the need to move the text closer to the reader, when the reader has Google, and is perfectly capable of moving closer to the text." She drops in entire phrases in Chinese without adding any translations—her typewriter doesn't have Chinese characters, so she left spaces and wrote them out by hand. It took me hours of fiddling with an OCR to search them online, and even then I had to strike out about half of them. She refers to family members in Chinese terms instead of English, so you're left wondering if a given character is an uncle or a second cousin. (I've read dozens of guides to the Chinese kinship nomenclature system by now. It makes no goddamn sense.) She's done this in all her other novels. Her fans praise such tactics as brilliant and authentic—a diaspora writer's necessary intervention against the whiteness of English. But it's not good craft. It makes the prose frustrating and inaccessible. I am convinced it is all in service of making Athena, and her readers, feel smarter than they are. "Quirky, aloof, and erudite" is Athena's brand. "Commercial and compulsively readable yet still exquisitely literary," I've decided, will be mine.

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.

Friendship: the word has come to mean many different things among the various races and cultures of both the Underdark and the surface of the Realms. In Menzoberranzan, friendship is generally born out of mutual profit. While both parties are better off for the union, it remains secure. But loyalty is not a tenet of drow life, and as soon as a friend believes that he will gain more without the other, the union - and likely the other's life - will come to a swift end. I have had few friends in my life, and if I live a thousand years, I suspect that this will remain true. There is little to lament in this fact, though, for those who have called me friend have been persons of great character and have enriched my existence, given it worth. First there was Zaknafein, my father and mentor who showed me that I was not alone and that I was not incorrect in holding to my beliefs. Zaknafein saved me, from both the blade and the chaotic, evil, fanatic religion that damns my people. Yet I was no less lost when a handless deep gnome came into my life, a svirfneblin that I had rescued from certain death, many years before, at my brother Dinin's merciless blade. My deed was repaid in full, for when the svirfneblin and I again met, this time in the clutches of his people, I would have been killed - truly would have preferred death - were it not for Belwar Dissengulp. My time in Blingdenstone, the city of the deep gnomes, was such a short span in the measure of my years. I remember well Belwar's city and his people, and I always shall. Theirs was the first society I came to know that was based on the strengths of community, not the paranoia of selfish individualism. Together the deep gnomes survive against the perils of the hostile Underdark, labor in their endless toils of mining the stone, and play games that are hardly distinguishable from every other aspect of their rich lives. Greater indeed are pleasures that are shared. - Drizzt Do'Urden

Half a century ago Ostwald (1910) distinguished classicists and romanticists among the scientific investigators: the former being inclined to design schemes and to use consistently the deductions from working hypotheses; the latter being more fit for intuitive discoveries of functional relations between phenomena and therefore more able to open up new fields of study. Examples of both character types are Werner and Hutton. Werner was a real classicist. At the end of the eighteenth century he postulated the theory of “neptunism,” according to which all rocks including granites, were deposited in primeval seas. It was an artificial scheme, but, as a classification system, it worked quite satisfactorily at the time. Hutton, his contemporary and opponent, was more a romanticist. His concept of 'plutonism' supposed continually recurrent circuits of matter, which like gigantic paddle wheels raise material from various depths of the earth and carry it off again. This is a very flexible system which opens the mind to accept the possible occurrence in the course of time of a great variety of interrelated plutonic and tectonic processes.

Did you ever consider how ridiculous it would be to try to cram on a farm—to forget to plant in the spring, play all summer and then cram in the fall to bring in the harvest? The farm is a natural system. The price must be paid and the process followed. You always reap what you sow; there is no shortcut. This principle is also true, ultimately, in human behavior, in human relationships. They, too, are natural systems based on the law of the harvest. In the short run, in an artificial social system such as school, you may be able to get by if you learn how to manipulate the man-made rules, to “play the game.” In most one-shot or short-lived human interactions, you can use the Personality Ethic to get by and to make favorable impressions through charm and skill and pretending to be interested in other people’s hobbies. You can pick up quick, easy techniques that may work in short-term situations. But secondary traits alone have no permanent worth in long-term relationships. Eventually, if there isn’t deep integrity and fundamental character strength, the challenges of life will cause true motives to surface and human relationship failure will replace short-term success. Many people with secondary greatness—that is, social recognition for their talents—lack primary greatness or goodness in their character. Sooner or later, you’ll see this in every long-term relationship they have, whether it is with a business associate, a spouse, a friend, or a teenage child going through an identity crisis. It is character that communicates most eloquently. As Emerson once put it, “What you are shouts so loudly in my ears I cannot hear what you say.” There are, of course, situations where people have character strength but they lack communication skills, and that undoubtedly affects the quality of relationships as well. But the effects are still secondary. In the last analysis, what we are communicates far more eloquently than anything we say or do. We all know it. There are people we trust absolutely because we know their character. Whether they’re eloquent or not, whether they have the human relations techniques or not, we trust them, and we work successfully with them. In the words of William George Jordan, “Into the hands of every individual is given a marvelous power for good or evil—the silent, unconscious, unseen influence of his life. This is simply the constant radiation of what man really is, not what he pretends to be.

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.

Human beings are capable of extraordinary things. We can create and we can destroy, we can love or we can hate. Some people believe they have souls. While others think that there is only this. Just this. Reality. The news. Killings, wars, bombings, hate, prejudice. Death. And death? No one ever dies on television. Only the bad guys do. Not you. Just them. So death is without meaning. Happens without meaning due to media. We see but don't feel, we watch but haven't experienced. We can only sympathize. A gun doesn't fire on it's own and a fanatic doesn't just wake up one day and become a murderer. Hate doesn't have a face. Death doesn't have a face. Human beings become that face. All of us everyday. Whether you like it or not. Why? Because this is a mindset a culture a history. From the time we are children we are taught that this is right and this is wrong. This is what a man does. This is what a woman does. Children emulate the behaviors of adults. Parents, movie characters and just about everyone else. We live in a society based on ideals. We celebrate the intelligence of the human race and then we take on the guises of everything the opposite of that belief we've ever known and support violence, support war. Behaviors that any intelligent race should have abandoned many years ago. We are surrounded by violence, surrounded by what we still are and what we are not becoming. Frankly we are all still just primitives and not capable in any way shape or form of creating a complete and everlasting peace and that's the sad reality of it all and always has been. We're just human. Only human. The good, the bad and the ugly. The evil, the damaged and the sick. The rich, the poor and all the rest of us. So look at it this way. You can't change the world or make the world stop killing. You can't stop violence or hatred but you can walk away from it all. Violence is a part of being human. But so is love. So? Only fight if you have to. Live peacefully and as a peace keeper and do what you can to make the small part of your own world a better place. Whether that's thru creation, protest, teaching or just being who you are and doing what you do. You can't stop humanity from being humanity and you certainly can't stop all the horrible things that happen around the world everyday. So accept it. Light a candle, say a prayer, donate or meditate, listen to some music, write. But even if the human race isn't everything you wish it could be? Hold on to love. Hold onto friends. Hold onto hope or whatever religion or belief that guides you through the dark. Because in the end? You're just human and that's all that you can do. The best that you can do.