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.

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.

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

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...

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.

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.

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.

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.

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)

It is character that communicates most eloquently.

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)

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.

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.

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.

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

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

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.

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.

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.

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.

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.

...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.

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.

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.

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.

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.

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

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

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.

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.

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

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.

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.

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.

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'.

Seorang perempuan yang sifatnya jahat tidak pantas diperlakukan sebagai seorang perempuan. [Ramayana Mahabharata, hal. 33]

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]

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

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.

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.

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.

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 …

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.

Shall I compare thee to a Shoggoth?

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.

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]

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.

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.

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.

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.

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!

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.

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 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.

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.

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)

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.

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.

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.

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?

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.

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.

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.

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.

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.