Chronology Of Life Quotes

We do not grow absolutely, chronologically. We grow sometimes in one dimension, and not in another; unevenly. We grow partially. We are relative. We are mature in one realm, childish in another. The past, present, and future mingle and pull us backward, forward, or fix us in the present. We are made up of layers, cells, constellations.

Sometimes life gets in your way. it gets all up in your damn way. But it doesn't get all up in your damn way because it wants you to just give up and let it take control. Life doesn't get all up in your damn way because it just wants you to hand it all over and be carried along. Life wants you to fight it Learn how to make it your own. it wants you to grab and axe and hack through the wood. It wants you to get a sledgehammer and break through concrete. It wants you to grab a torch and burn through the metal and steel until you can reach through and grab it. Life wants you to grab all the organized, the alphabetized, the chronological, the sequenced. It wants you to mix it all together, stir it up, blend it.

Sometimes life doesn't happen in chronological order.

In water, like in books—you can leave your life.

From the chronology of our time perception we keep garnering fetching and enticing instants of our life story, still abounding in our mind. As they emerge like lucky sparkles of our unyielding awareness, we hold them dearly in the treasury of our remembrance. ("Just for a moment")

The best fights are the ones you don't have", a wise man once said to me.

I said nothing. I’m good at saying nothing. I don’t like talking. I could go the rest of my life without saying another word, if I had to.

Out of the sad sack of sad shit that was my life, I made a wordhouse.

So yes I know how angry, or naive, or self-destructive, or messed up, or even deluded I sound weaving my way through these life stories at times. But beautiful things. Graceful things. Hopeful things can sometimes appear in dark places. Besides, I'm trying to tell you the truth of a woman like me.

Your life doesn’t happen in any kind of order. Events don’t have cause and effect relationships the way you wish they did. It’s all a series of fragments and repetitions and pattern formations. Language and water have this in common.

And for just a moment I had reached the point of ecstasy that I always wanted to reach, which was the complete step across chronological time into timeless shadows, and wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on, with a phantom dogging its own heels, and myself hurrying to a plank where all the angels dove off and flew into the holy void of uncreated emptiness, the potent and inconceivable radiancies shining in bright Mind Essence, innumerable lotuslands falling open in the magic mothswarm of heaven. I could hear an indescribable seething roar which wasn't in my ear but everywhere and had nothing to do with sounds. I realized that I had died and been reborn numberless times but just didn't remember especially because the transitions from life to death and back to life are so ghostly easy, a magical action for naught, like falling asleep and waking up again a million times, the utter casualness and deep ignorance of it. I realized it was only because of the stability of the intrinsic Mind that these ripples of birth and death took place, like the action of the wind on a sheet of pure, serene, mirror-like water. I felt sweet, swinging bliss, like a big shot of heroin in the mainline vein; like a gulp of wine late in the afternoon and it makes you shudder; my feet tingled. I thought I was going to die the very next moment. But I didn't die...

A person's life consists of a collection of events, the last of which could also change the meaning of the whole, not because it counts more than the previous ones but because once they are included in a life, events are arranged in an order that is not chronological but, rather, corresponds to an inner architecture.

He has made me wary of chronological snobbery. That is, he showed me that newness is no virtue and oldness is no vice. Truth and beauty and goodness are not determined by when they exist. Nothing is inferior for being old, and nothing is valuable for being modern. This has freed me from the tyranny of novelty and opened for me the wisdom of the ages.

If you have ever fucked up in your life, or if the great river of sadness that runs through us all has touched you, then this book is for you. So thank you for the collective energy it takes to write in the face of culture. I can feel you.

The first day of the rest of my life.

I met a girl in a U-Haul. A beautiful girl And I fell for her. I fell hard. Unfortunately, sometimes life gets in the way. Life definitely got in my way. It got all up in my damn way, Life blocked the door with a stack of wooden 2x4's nailed together and attached to a fifteen inch concrete wall behind a row of solid steel bars, bolted to a titanium frame that no matter how hard I shoved against it- It wouldn't budge. Sometimes life doesn't budge. It just gets all up in your damn way. It blocked my plans, my dreams, my desires, my wishes, my wants, my needs. It blocked out that beautiful girl That I fell so hard for. Life tries to tell you what's best for you What should be most important to you What should come in first Or second Or third. I tried so hard to keep it all organized, alphabetized, stacked in chronological order, everything in its perfect space, its perfect place. I thought that's what life wanted me to do. This is what life needed for me to do. Right? Keep it all in sequence? Sometimes, life gets in your way. It gets all up in your damn way. But it doesn't get all up in your damn way because it wants you to just give up and let it take control. Life doesn't get all up in your damn way because it just wants you to hand it all over and be carried along. Life wants you to fight it. It wants you to grab an axe and hack through the wood. It wants you to get a sledgehammer and break through the concrete. It wants you to grab a torch and burn through the metal and steel until you can reach through and grab it. Life wants you to grab all the organized, the alphabetized, the chronological, the sequenced. It wants you to mix it all together, stir it up, blend it. Life doesn't want you to let it tell you that your little brother should be the only thing that comes first. Life doesn't want you to let it tell you that your career and your education should be the only thing that comes in second. And life definitely doesn't want me To just let it tell me that the girl I met, The beautiful, strong, amazing, resilient girl That I fell so hard for Should only come in third. Life knows. Life is trying to tell me That the girl I love, The girl I fell So hard for? There's room for her in first. I'm putting her first.

A man follows the path laid out for him. He does his duty to God and his King. He does what he must do, not what pleases him. God's truth, boy, what kind of world would this be if every man did what pleased him alone? Who would plough the fields and reap the harvest, if every man had the right to say, 'I don't want to do that.' In this world there is a place for every man, but every man must know his place.

Chronological time is what we measure by clocks and calendars; it is always linear, orderly, quantifiable, and mechanical. Kairotic time is organic, rhythmic, bodily, leisurely, and aperiodic; it is the inner cadence that brings fruit to ripeness, a woman to childbirth, a man to change the direction of his life.

However, narrating what you remember, telling it to someone, does something else. The more a person recalls a memory, the more they change it. Each time they put it into language, it shifts. The more you describe a memory, the more likely it is that you are making a story that fits your life, resolves the past, creates a fiction you can live with. It’s what writers do. Once you open your mouth, you are moving away from the truth of things. According to neuroscience. The safest memories are locked in the brains of people who can’t remember. Their memories remain the closest replica of actual events. Underwater. Forever.

Have endless patterns and repetitions accompanying your thoughtlessness, as if to say let go of that other more linear story, with its beginning, middle, and end, with its transcendent end, let go, we are the poem, we have come miles of life, we have survived this far to tell you, go on, go on.

How we perceive, feel about and respond to people and situations is far more guided by the lessons of early childhood than we would like to believe. We may be adults, chronologically and physically, but too often the youngest parts of our personality are invisibly, yet actively, living our lives.

Like all great fantasists, he has taught me about life, life in eternity rather than chronology, life in that time in which we are real.

I fear that we live in an ahistorical age in which we believe that we are so wise that we no longer need the lessons of the past, perhaps most disturbingly of all that technology has put us beyond the lessons of the past.

Is your life story the truth? Yes, the chronological events are true. Is it the whole truth? No, you see and judge it through your conditioned eyes and mind - not of all involved - nor do you see the entire overview. Is it nothing but the truth? No, you select, share, delete, distort, subtract, assume and add what you want, need and choose to.

Facts are but the Play-things of lawyers,-- Tops and Hoops, forever a-spin... Alas, the Historian may indulge no such idle Rotating. History is not Chronology, for that is left to Lawyers,-- nor is it Remembrance, for Remembrance belongs to the People. History can as little pretend to the Veracity of the one, as claim the Power of the other,-- her Practitioners, to survive, must soon learn the arts of the quidnunc, spy, and Taproom Wit,-- that there may ever continue more than one life-line back into a Past we risk, each day, losing our forebears in forever,-- not a Chain of single Links, for one broken Link could lose us All,-- rather, a great disorderly Tangle of Lines, long and short, weak and strong, vanishing into the Mnemonick Deep, with only their Destination in common.

She didn’t go in chronological order, but spoke of whatever came to her mind. One night she would talk of her childhood, another of the wars or the depression. Sometimes she talked about losing four of her five children. It wasn’t until many years later when I repeated some of these things to my daughter that I fully realized how epic a tale my grandmother’s life had actually been. My daughter said to me, “Why don’t you write it down for me?

I didn’t know yet how wanting to die could be a bloodsong in your body that lives with you your whole life. I didn’t know then how deeply my mother’s song had swum into my sister and into me. I didn’t know that something like wanting to die could take form in one daughter as the ability to quietly surrender, and in the other as the ability to drive into death head-on. I didn’t know we were our mother’s daughters after all.

This man was gorgeous. I'm mentioning this because women live their lives secretly waiting for their lives to become movies. We act like men are the ones shallow enough to desire an unending stream of beautiful women but really, if a charismatic narcissist beautiful bad boy man actually desires us, seems to choose us, we go to pieces. We suddenly feel like we are finally in that movie rather than a life. Just what we always wanted. To be chosen by the best looking man in the room. Rhett Butler. Even though we are of course smarter and more mature and more together than to ever want that. Or admit it.

A dictionary resembles the world more than a novel does, because the world is not a coherent sequence of actions but a constellation of things perceived. It is looked at, unrelated things congregate, and geographic proximity gives them meaning. If events follow each other, they are believed to be a story. But in a dictionary, time doesn't exist: ABC is neither more nor less chronological than BCA. To portray your life in order would be absurd: I remember you at random. My brain resurrects you through stochastic details, like picking marbles out of a bag.

I believe in movement. I believe in that lighthearted balloon, the world. I believe in midnight and the hour of noon. But what else do I believe in? Sometimes everything. Sometimes nothing. It fluctuates like light flitting over a pond. I believe in life, which one day each of us shall lose. When we are young we think we won't, that we are different. As a child I thought that I would never grow up, that I could will it so. And then I realized, quite recently, that I had crossed some line, unconsciously cloaked in the truth of my chronology. How did we get so damn old?

One major irony here is that law, which always lags behind technological innovation by at least a generation, gives substantially more protections to a communication’s content than to its metadata—and yet intelligence agencies are far more interested in the metadata—the activity records that allow them both the “big picture” ability to analyze data at scale, and the “little picture” ability to make perfect maps, chronologies, and associative synopses of an individual person’s life, from which they presume to extrapolate predictions of behavior.

What do people think of when they talk about their lives? Do they really see them as an integral whole, as a chronological sequence of events; as something logical, purposeful, completed? What moments do they remember, and how do they remember them? As words? As a series of images and sounds? My life crumbles into a series of pictures, unconnected scenes which comes to mind only occassionally and at random. But there are key events, the acts of chance or fate, which later enable me to construct a logical whole of my life. One such moment was meeting Jose. The other was my decision to see our love through to the very end.

If you are to judge a man, you must know his secret thoughts, sorrows, and feelings; to know merely the outward events of a man’s life would only serve to make a chronological table — a fool’s notion of history.

as with some trees – you can’t help feeling that they must be much older than their chronological age? Where do you start someone’s story when every life has more than one thread and what we call birth is not the only beginning, nor is death exactly an end?

People are often asking me if the things in my short stories really happened to me. I always think this is the same question to ask of a life - did this really happen to me? The body doesn’t lie. But when we bring language to the body, isn’t it always already an act of fiction? With its delightfully designed composition and color saturations and graphic patterns? Its style and vantage point? Its insistence on the mind’s powerful force of recollection in the face of the raw and brutal fact that the only witness was the body?

The thing no one understood about Gwendolyn Reese was that she was three ages at once: thirty chronologically, forty-five intellectually and fifteen experientially.

[...] I hated god. [...] I hated my father most of all, a hate that never left but changed forms. My life had been ruined by men.

Note to self: we do not have to be slaves to our chronological age!

We have been cut off, the past has been ended and the family has broken up and the present is adrift in its wheelchair. ... That is no gap between the generations, that is a gulf. The elements have changed, there are whole new orders of magnitude and kind. [...] My grandparents had to live their way out of one world and into another, or into several others, making new out of old the way corals live their reef upward. I am on my grandparents' side. I believe in Time, as they did, and in the life chronological rather than in the life existential. We live in time and through it, we build our huts in its ruins, or used to, and we cannot afford all these abandonings.

I detest all books which run chronologically, which commence at the cradle and end with the grave. Even life doesn't run that way, much as people think it does. Life only commences at the hour of spiritual birth - which may be at eighteen or at forty-seven. And death is never the goal - but life! more life!

Japonisme was a vertical phenomenon running through a number of successive styles; Art Nouveau was a horizontal, chronologically limited phenomenon that embodied the aim of giving expression to a new experience of life.

If you don’t have a twin in a tribe I’m telling you - drop whatever you are doing in your life and go look for them. The twin and the tribe. I’m serious. Because having a bloodword tie and a tribe pretty much saved me from myself. If I had tried to live one more year trying to be like the people around me I wouldn’t have lasted long.

The way you remember or dream about your loved ones - the ones who are gone - you can't stop their endings from jumping ahead of the rest of their stories. You don't get to choose the chronology of what you dream, or the order of events in which you remember someone. In your mind - in your dreams, in your memories - sometimes the story begins with the epilogue.

Imagine taking a test knowing the answer. While we know that history flows forward, it is difficult to realize that we envision it backward. Why is it so? We will discuss the point in Chapter 11 but here is a possible explanation: Our minds are not quite designed to understand how the world works, but, rather, to get out of trouble rapidly and have progeny. If they were made for us to understand things, then we would have a machine in it that would run the past history as in a VCR, with a correct chronology, and it would slow us down so much that we would have trouble operating. Psychologists call this overestimation of what one knew at the time of the event due to subsequent information the hindsight bias, the “I knew it all along” effect.

And what about our ancestors – can they, too, continue to exist through us? Is that why, when you meet some individuals – just as with some trees – you can't help feeling that they must be much older than their chronological age? Where do you start someone's story when every life has more than one thread and what we call birth is not the only beginning nor is death exactly an end?

I believe in movement. I believe in that lighthearted balloon, the world. I believe in midnight and the hour of noon. But what else do I believe in? Sometimes everything. Sometimes nothing. It fluctuates like light flitting over a pond. I believe in life, which one day each of us shall lose. When we are young we think we won’t, that we are different. As a child I thought I would never grow up, that I could will it so. And then I realized, quite recently, that I had crossed some line, unconsciously cloaked in the truth of my chronology. How did we get so damn old? I say to my joints, my iron-colored hair. Now I am older than my love, my departed friends. Perhaps I will live so long that the New York Public Library will be obliged to hand over the walking stick of Virginia Woolf. I would cherish it for her, and the stones in her pocket. But I would also keep on living, refusing to surrender my pen.

The study of the past helps us to appreciate that the ideas and values of our own age are just as provisional and transient as those of bygone ages. The intelligent and reflective engagement with the thought of a bygone era ultimately subverts any notion of "chronological snobbery". Reading texts from the past makes it clear that what we now term "the past" was once "the present", which proudly yet falsely regarded itself as having found the right intellectual answers and moral values that had eluded its predecessors.

These experiments demonstrate the conceptual synesthesia connecting our ideas of the concrete experience of space and the abstract experience of time. Our concept of physical motion through space is scaffolded onto our concept of chronological motion through time. Experiencing one-indeed, merely thinking about one-influences our experience of and thoughts about the other, just as the theory of embodied cognition suggests.

I harbored in my mind a sort of utopia about ‘an age of genius’ that supposedly existed in my life once upon a time, not in any calendar year but on a level above chronology, an age when everything blazed with godly colors and one took in the whole sky with a single breath, like a gulp of pure ultramarine.

In the first place [Barfield] made short work of what I have called my "chronological snobbery," the uncritical acceptance of the intellectual climate common to our own age and the assumption that whatever has gone out of date is on that account discredited. You must find out why it went out of date. Was it ever refuted (and if so by whom, where, and how conclusively) or did it merely die away as fashions do? If the latter, this tells us nothing about its truth or falsehood. From seeing this, one passes to the realization that our own age is also a "period," and certainly has, like all periods, its own characteristic illusions. They are likeliest to lurk in those widespread assumptions which are so ingrained in the age that no one dares to attack or feels it necessary to defend them.

It is a fact of life that oversimplified accounts of the development of science are often necessary in its teaching. Most scientific progress is a messy, complex and slow process; only with the hindsight of an overall understanding of a phenomenon can a story be told pedagogically rather than chronologically. This necessitates the distilling of certain events and personalities from the melee: those who are deemed to have made the most important contributions. It is inevitable therefore that the many smaller or less important advances scattered randomly across hundreds of years of scientific history tend to be swept up like autumn leaves into neat piles, on top of which sit larger-than-life personalities credited with taking a discipline forward in a single jump. Sometimes this is perfectly valid, and one cannot deny the genius of an Aristotle, a Newton, a Darwin or an Einstein. But it often leaves behind forgotten geniuses and unsung heroes.

I’m working on expanding subjective time so that it feels like I live longer,” Ed had mumbled to me on the sidewalk outside the Con Ed headquarters, a cigarette dangling from his mouth. “The idea is to avoid that feeling you have when you get to the end of the year and feel like, where the hell did that go?” “And how are you going to do that?” I asked. “By remembering more. By providing my life with more chronological landmarks. By making myself more aware of time’s passage.

Persons curious in chronology may, if they like, work out from what they already know of the Wimsey family that the action of the book takes place in 1935; but if they do, they must not be querulously indignant because the King's Jubilee is not mentioned, or because I have arranged the weather and the moon's changes to suit my own fancy. For, however realistic the background, the novelist's only native country is Cloud-Cuckooland, where they do but jest, poison in jest: no offence in the world.

Lewis had experienced more trauma than most of his modern readers ever will.

Words from my whole body, my entire life, or the lives of women and girls whose stories got stuck in their throats came gushing out.

Life gives you very few chances and, believe you me, if you mess this one up, you’ll spend the rest of your life regretting it.

A Japanese woman friend whose infant son died seven days into his life - no detectable reason - just the small breathing becoming nothing until it disappeared, told me that in Japan, there is a two-term word - “mizugo” - which translates loosely to “water children.” Children who did not live long enough to enter the world as we live in it. In Japan, there are rituals for mothers and families, practices and prayers for the water children. There are shrines where a person can visit and deliver words and love and offerings to the water children.

THERE ARE ENORMOUS HOLES IN MY EDUCATION. I left college in March of my freshman year and never went back. I’ve never read Moby-Dick and it’s probably too late now. I know nothing about the history of music or the history of art except what I’ve learned through osmosis. But Outsider Art is its own context. I don’t have to know all about the Impressionists or the Abstract Expressionists. I don’t have to be able to fit this art into any historic chronology. I don’t feel like an ignoramus. Irony of ironies, I don’t feel like an outsider—to fall in love I only need eyes.

After his break with Freud, Jung pursued the connection between the unconscious and the occult and found example after example of ancient mystical and occult symbols in the dreams of people who had never encountered those symbols in waking life. He came to believe that below the repressed memories of individual life, there exists a collective unconscious full of archaic images that appear in myths, legends, and the traditions of occultism. By bringing those images into consciousness, it is possible to achieve individuation: a state of psychological balance and wholeness as far above ordinary sanity as neurotic conditions are below it.

One doesn't remember one's own life chronologically, the way it happened, what was most important, or even what seemed most important. We are not in control of our memories. One doesn't own one's memories. One is owned by them.

Malachi Smith. Crispin Jones. Suzette Boudrot. Claude Le Breton.” Matthew paused as Ransome searched the ledger’s entries for the names. “You should have kept them in chronological order instead of alphabetical. That’s how I remember them.” Ransome

Time has to be converted, then, from chronos, mere chronological time, to kairos, a New Testament Greek word that has to do with opportunity, with moments that seem ripe for their intended purpose. Then, even while life continues to seem harried, while it continues to have hard moments, we say, “Something good is happening amid all this.” We get glimpses of how God might be working out his purposes in our days. Time becomes not just something to get through or manipulate or manage, but the arena of God’s work with us. Whatever happens— good things or bad, pleasant or problematic—we look and ask, “What might God be doing here?” We see the events of the day as continuing occasions to change the heart. Time points to Another and begins to speak to us of God. We

Leslie Marmon Silko whispers the story is long. No, longer. Longer than that even. Longer than anything. With Anne Sexton and Sylvia Plath drink at the bar. Laugh the dark laughter in the dark light. Sing a dark drunken song of men. Make a slurry toast. Rock back and forth, and drink the dark, and bask in the wallow of women knowing what women know. Just for a night. When you need to feel the ground of your life and the heart of the world, there will be a bonfire at the edge of a canyon under a night sky where Joy Harjo will sing your bonesong. Go ahead-with Anne Carson - rebuild the wreckage of a life a word at a time, ignoring grammar and the forms that keep culture humming. Make word war and have it out and settle it, scattering old meanings like hacked to pieces paper doll confetti. The lines that are left … they are awake and growling. With Virginia Woolf there will perhaps be a long walk in a garden or along a shore, perhaps a walk that will last all day. She will put her arm in yours and gaze out. At your backs will be history. In front of you, just the ordinary day, which is of course your entire life. Like language. The small backs of words. Stretching out horizonless. I am in a midnight blue room. A writing room. With a blood red desk. A room with rituals and sanctuaries. I made it for myself. It took me years. I reach down below my desk and pull up a bottle of scotch. Balvenie. 30 year. I pour myself an amber shot. I drink. Warm lips, throat. I close my eyes. I am not Virginia Woolf. But there is a line of hers that keeps me well: Arrange whatever pieces come your way. I am not alone. Whatever else there was or is, writing is with me.

Rather than look back on childhood, I always looked sideways on childhood. If to look back is tinted with a honeyed cinematography of nostalgia, to look sideways at childhood is tainted with a sicklier haze of envy, an envy that ate at me when I stayed for dinner with my white friend’s family or watched the parade of commercials and T.V. shows that made it clear what a child looked like and what kind of family they should grow up in. The scholar Kathyrn Bond Stockton writes, "The queer child grew up sideways, because queer life often defied the linear chronology of marriage and children". Stockton also describes children of color as growing sideways since their youth is likewise outside the model of an enshrined white child. But for myself it is more accurate to say that i looked sideways at childhood… to look sideways has another connotation - giving side eyes telegraphs doubt, suspicion, and even contempt.

As the child gets older, the discrepancy between his chronological age and the level of his psychological functioning widens. He develops a “borderline personality disorder” which becomes progressively more entrenched over time as the individual encounters and struggles with the challenges of each life phase.

It’s better to take it out on God. He can cope with all our angers. That’s one thing my long span of chronology has taught me. If I take all my anger, if I take all my bitterness over the unfairness of this mortal life, and throw it all to God, he can take it all and transform it into love before he gives it back to me.

Uncoupling is a dramatic life event, whose importance is reflected in the eagerness of people to discuss their relationships even years later. Indeed, in attempting to put the story in chronological order, there was no one who was not visited again by sorrow and loss in the telling of it, regardless of the passage of time.

Life does not happen around you. It is not a chronology of events. Perceiving life in this way keeps you on the edge of life. Ask yourself: What does it mean to LIVE? And you will discover that you’ve never really LIVED at all. Life is to be tasted. Drink it. Immerse yourself in it. And experience it for the very first time.

Anyway, it's a pretty good story," I said. "You have to admit." "Yeah?" He crumpled up the Kleenex, having dispatched the solitary tear. "You can have it. I'm giving it to you. After I'm gone, write it down. Explain everything. Make it mean something. Use a lot of those fancy metaphors of yours. Put the whole thing in proper chronological order, not like this mishmash I'm making you. Start with the night I was born. March second, 1915. There was a lunar eclipse that night, you know what that is?" "When the earth's shadow falls across the Moon." "Very significant. I'm sure it's a perfect metaphor for something. Start with that." "Kind of trite." I said. He threw the Kleenex at my head. It bounced off my cheek and fell on the floor. I bent to pick it up. Somewhere in its fibers, it held what may have been the last tear my grandfather ever shed. Out of respect for his insistence on the meaninglessness of life--his, everyone's--I threw it into the wastebasket by the door.

When the gypsy chief reached this point in his story, someone came to tell him that his presence was required for business concerning his band. As soon as he left, Velásquez spoke and said, ‘I have tried in vain to concentrate all my attention on the gypsy chief’s words but I am unable to discover any coherence whatsoever in them. I do not know who is speaking and who is listening. Sometimes the Marqués de Val Florida is telling the story of his life to his daughter, sometimes it is she who is relating it to the gypsy chief, who in turn is repeating it to us. It is a veritable labyrinth. I had always thought that novels and other works of that kind should be written in several columns like chronological tables.

The correspondence, thus arranged in chronological order, forms an almost continuous record of Mrs. Browning’s life, from the early days in Herefordshire to her death in Italy in 1861; but in order to complete the record, it has been thought well to add connecting links of narrative, which should serve to bind the whole together into the unity of a biography.

And just for a moment I had reached the point of ecstasy that I always wanted to reach, which was a complete step across chronological time into timeless shadows, and the wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on.. I realised that I had died and been reborn numberless times but just didn't remember especially because the transitions from life to death and back to life are so ghostly easy, a magical action for naught, like falling asleep and waking up again a million times, the utter casualness and deep ignorance of it.. I felt sweet, swinging bliss, like a big shot of heroin in the mainline vein; like a gulp of wine late in the afternoon and it makes you shudder; my feet tingled.

This is what the LORD, the God of your father David, says: I have heard your prayer and seen your tears; I will heal you. On the third day from now you will go up to the temple of the LORD. 6I will add fifteen years to your life. And I will deliver you and this city from the hand of the king of Assyria. I will defend this city for my sake and for the sake of my servant David.’

Long-hours culture is also a problem in academia – and it is exacerbated by career-progression systems designed around typically male life patterns. An EU report on universities in Europe pointed out that age bars on fellowships discriminate against women: women are more likely125 to have had career breaks meaning that their ‘chronological age is older than their “academic” age’.

My archive project is a multiedged sword. It is something I love doing, but it raises some questions about my motives in doing it. A writer accused me of building my archives just to further my own legend, whatever that is. I hope you don't believe that. What a shallow existence that would be! I remember reading that article saying that about me. It pissed me off. It's my life, and I am a collector. I collect everything: cars, trains, manuscripts, photographs, tape recordings, records, memories and clothes, to name a few. The fact that I want to create a chronological history of my recordings and supporting work is proof positive that I am an incurable collector, confronted with an amazingly detailed array of creations that I have painstakingly rat-holed over the years.

The chronological sorting of memories is an interesting business. Prior to this first weekend in the country, my recollections of that fall are distant and blurry: from here on out, they come into a sharp, delightful focus. It is here that the stilted mannequins of my initial acquaintance begin to yawn and stretch and come to life. It was months before the gloss and mystery of newness, which kept me from seeing them with much objectivity, would wear entirely off - though their reality was far more interesting than any idealized version could possibly be - but it is here, in my memory, that they cease being totally foreign and being to appear, for the first time, in shapes very like their bright old selves. I too appear as something of a stranger in these early memories.

. . .biographers tend to regard as character those elements of personality that remain constant, or nearly so, throughout. . .Like practitioners of fractal geometry, biographers seek patterns that persist as one moves from micro- to macro-levels of analysis, and back again. . . . It follows from this that the scale across which we seek similarity need not be chronological. Consider the following incidents in the life of Stalin between 1929 and 1940, arranged not by dates but in terms of ascending horror. Start with the parrot he kept in a cage in his Kremlin apartment. The dictator had the habit of pacing up and down for long periods of time, smoking his pipe, brooding, and occasionally spitting on the floor. One day the parrot tried to mimic Stalin's spitting. He immediately reached into the cage with his pipe and crushed the parrot's head. A very micro-level event, you might well say, so what? But then you learn that Stalin, while on vacation in the Crimea, was once kept awake by a barking dog. It turned out to be a seeing-eye dog that belonged to a blind peasant. The dog wound up being shot, and the peasant wound up in the Gulag. And then you learn that Stalin drove his independently minded second wife, who tried to talk back to him, into committing suicide. And that he arranged for Trotsky, who also talked back, to be assassinated halfway around the world. And that he arranged as well the deaths of as many of Trotsky's associates that he could reach, as well as the deaths of hundred of thousands of other people who never had anything to do with Trotsky. And that when his own people began to talk back by resisting the collectivization of agriculture, he allowed some fourteen million of them to die from the resulting starvation, exile, or imprisonment. Again, there's self-similarity across scale, except that the scale this time is a body count. It's a fractal geometry of terror. Stalin's character extended across time and space, to be sure, but what's most striking about it is its extension across scale: the fact that his behavior seemed much the same in large matters, small matters, and most of those that lay in between.

Matt 6:25 Because of the ill effects of worry, Jesus tells us not to worry about those needs that God promises to supply. Worry may (1) damage your health, (2) disrupt your productivity, (3) negatively affect the way you treat others, and (4) reduce your ability to trust in God. How many ill effects of worry are you experiencing? Here is the difference between worry and genuine concern—worry immobilizes, but concern moves you to action.

Our life in historical or chronological time, measuring and minding, cautious and comparing, forms the horizontal arm of the cross. Our experience of the unqualified, of inner, immeasurable time (or timelessness), is the cross’s vertical pole. We live in two kinds of time or perspective simultaneously. The horizontal and the vertical are at once quite distinct and entirely overlapping, and to experience their incongruity and confluence is what it means to be human.

8 There were many lamps in the upper room where they* were gathered together. 9 And in a window sat a certain young man named Eutychus, who was sinking into a deep sleep. He was overcome by sleep; and as Paul continued speaking, he fell down from the third story and was taken up dead. 10 But Paul went down, fell on him, and embracing him said, “Do not trouble yourselves, for his life is in him.” 11 Now when he had come up, had broken bread and eaten, and talked a long while, even till daybreak, he departed. 12 And they brought the young man in alive,

I thought he preferred Ronan,” Declan said. It was the most ridiculous thing to say. It was the most meaningless of takeaways. But out it came. Declan and the new Fenian were situated just as they had been when they’d begun this: the new Fenian on the wooden chair he’d pulled up, Declan on the couch, memories tied up and down his fingers. The new Fenian had sorted through the bright strings with supernatural skill, finding just the ones he’d wanted. Then he’d carefully tied them onto Declan in chronological order, from the day his mother had arrived at the Barns with Declan until the day she’d left the Barns without him. Niall had stayed, always choosing Declan, a life with Declan beside him as much as possible. A life with Ronan, because Declan had cared for him when no one else yet did. It had only taken minutes to experience the memories, but it had felt like years. Dream logic. Dream time. Declan wasn’t the same person he’d been on the other side of it. His father had loved him, adored him, favored him. Given up everything for him. “You had to know you were the favorite,” the new Fenian said. “Didn’t I—he take you everywhere with him that he could?

A novel is a storyline with an antagonist and protagonist, a plot, conflict, and resolution. A memoir is a slice of life. An autobiography is limited to the facts set out in chronological order. When left in the hands of a deft writer a short story is a literature delicacy, a delectable dish comparable to eating a spoonful of chocolate mousse. An essay, in contrast, shows an energetic mind at work. Each essayist employs the prose style and technique that best fits the writer’s climactic meanderings. Personal essays are malleable in form; they contain a blend of memoir, observation, speculation, and opinion.

Recounting the narrative of our personal story in a methodical and chronological manner helps us see our life in a historical perspective. Telling our personal stories allows us to bring hibernated memories out of seclusion. Reexamination of our historical existence under the light of growing conscious awareness assist us make psychological breakthroughs. Analyzing the elemental substance of our personal story from a sundry of viewpoints employing techniques of literature, philosophy, logical reasoning, and abstract thinking assist us perceive our discrete chronicle in symbolic terms and in mythological context.

… called my ‘chronological snobbery’, the uncritical acceptance of the intellectual climate common t o our own age and the assumption that whatever has gone out of date is on that account discredited. Was it ever refuted (and if so by whom, where, and how conclusively) or did it merely die away as fashions do? … From seeing this, one passes to the realisation that our own age is also a ‘period’, and certainly has, like all periods, its own characteristic illusions. They are likeliest to lurk in those widespread assumptions which are so ingrained in that age that no one dares to attack or feels it necessary to defend them.

The problem with the Judaizers is that they wanted to turn the clock back in salvation history. But their fault was not merely chronological. It is not as if their only problem was that they didn’t know what time it is. The era of the law is one of slavery to sin. Freedom and life only come through Christ and the Jerusalem above. Those who are part of the old era are dominated by the flesh instead of the Spirit. Hence, Paul’s problem with Judaism was not, contrary to Sanders, merely that it is not Christianity. Returning to the law is fatal for Paul because it lands one under the dominion of sin, so that one is subjugated to its tyranny.

Neither is a memoir the same as a biography, which aims for the most objective, factual account of a life. A memoir, as I understand it, makes no pretense of denying its subjectivity. Its matter is one person’s memory, and memory by nature is selective and colored by emotion. Others who participated in the events I describe will no doubt remember some details differently, though I hope we would agree on the essential truths. I have taken no liberties with the past as I remember it, used no fictional devices beyond reconstructing conversations from memory. I have not blended characters, or bent chronology to convenience. And yet I have tried to tell a good story.

whatever you consistently think about yourself becomes your reality. You are as capable or as incapable as you think you are. The possibilities for your life are as limited or as limitless as you think they can be. It’s all in your perception. We wake up, and our minds are flooded with habitual thought patterns, often guided by the chronology of our day. We think about what we have to do to get out the door in the morning. All day long we think about what’s on our schedule. Then we think about what needs to be done when we get home and before we go to bed. We give ourselves little to no time to consider a bigger future and clarify who we need to be to create it, and so our life stays the same, because we stay the same.

I wish I could have shown you that engineheart- the system of pieces and parts that moved us forward, that moves us forward still. One day, a few weeks after my son’s death, I took the bolt off the casing and opened it up. Just to see how it worked. Opening that heart was like the opening the first page of a book- there were characters (me, the Memory of My Father), there was rhythm and chronology, I saw, in the images, old roads I’d forgotten- and scenes from stories where the VW was just a newborn. I do know that it held a true translation: miles to words, words to notes, notes to time. It was the HEART that converted the pedestrian song of Northampton to something meaningful, and it did so via some sort of fusion: the turtle that howls a bluegrass tune at the edge of Bow Lake becomes a warning in the VW heart…and that’s just the beginning- the first heart layer. It will take years and years of study, and the energy of every single living thing, to understand the tiny minds and roads in the subsequent layers, the mechanics at work to make every single heartmoment turn together… The point is, this WAS always the way it was supposed to be. Even I could see that the Volkswagen heart was wired for travel-genetically coded. His pages were already written-as are mine and yours. Yes, yours too! I am looking into your eyes right now and I am reading your life, and I am excited/sorry for what the road holds for you. It’s going to be amazing/really difficult. You’ll love/loathe every minute of it!

I believe in movement. I believed in that lighthearted balloon, the world. I believed in midnight and the hour of noon. But what else do I believe in? Sometimes everything. Sometimes nothing. It fluctuates like light flitting over a pond. I believed in life, which one day each of us shall lose. (...) I realized, quite recently, that I had crossed some line, unconsciously cloaked in the truth of my chronology. How did we get so damn old? I say to my joints, my iron-colored hair. Now I am older than my love, my departed friends. Perhaps I will live so long that the New York Public Library will be obliged to hand over the walking stick of Virginia Woolf. I would cherish it for her, and the stones in her pocket. But I would also keep on living, refusing to surrender my pen.

The Sorceress is the 'madwoman' linked chronologically to the transition of menopause: she is highly introspective yet surging with energy. The Priestess yields to the Mystery, but the Sorceress takes command as medicine woman or shamaness, wielding power rather than seeking it.  One of the Sorceress's best-known goddess representatives is Medusa, considered crazed, and fearsome for her power to turn men to stone. Yet Medusa's head teems with the serpents of wisdom; she is revered in ancient traditions as 'mother of all gods, whom she bore before childbirth existed.' She represents the Sorceress's ability to tap the forces of creation in her communications and actions. Far from being wild or out of control, she is highly directed and serious about her work. Her pathway narrows, her choices become limited. When we see with the eyes of the Sorceress we are in synch with the Mystery; we know exactly what to do in any given situation.

For against a vast time scale, Hinduism draws a distinction the West is too familiar with- that between chronological age and psychological age. Two people, both forty-six are the same age chronologically, but psychologically one may still be a child and the other an adult. The Hindus extend this distinction to cover multiple life spans, a point we shall take up explicitly when we come to the idea of reincarnation. As a consequence we shall find men and women who play the game of desire with all the zest of nine-year-old cops and robbers; though they know little else, they will die with the sense of having lived to the full and enter their verdict that life is good. But equally, there will be others who play this game as ably, yet find its laurels paltry. Why the difference? The enthusiasts, say the Hindus, are caught in the flush of novelty, whereas the others, having played the game over and over again, seek other worlds to conquer. p18

Through ecstasy, emotion reaches its climax, and thereby at the same time its negation (its oblivion). Ecstasy means being "outside oneself," as indicated by the etymology of the Greek word: the act of leaving one's position (stasis). To be "outside oneself" does not mean outside the present moment, like a dreamer escaping into the past or the future. Just the opposite: ecstasy is absolute identity with the present instant, total forgetting of past and future. If we obliterate the future and the past, the present moment stands in empty space, outside life and its chronology, outside time and independent of it (this is why it can be likened to eternity, which too is the negation of time). [...] Man desires eternity, but all he can get is its imitation: the instant of ecstasy. [...] Living is a perpetual heavy effort not to lose sight of ourselves, to stay solidly present in ourselves, in our stasis. Step outside ourselves for a mere instant, and we verge on death's dominion.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

Most of my colleagues who work with past life clients have listened to overlapping time chronologies from people living on Earth in two places at once. Occasionally, there are three or more parallel lives. Souls in almost any stage of development are capable of living multiple physical lives, but I really don't see much of this in my cases. Many people feel the idea of souls having the capacity to divide in the spirit world and then attaching to two or more human bodies is against all their preconceptions of a singular, individualized spirit. I confess that I too felt uncomfortable the first time a client told me about having parallel lives. I can understand why some people find the concept of soul duality perplexing, especially when faced with the further proposition that one soul may even be capable of living in different dimensions during the same relative time. What we must appreciate is, if our souls are all part of one great over-soul energy force which divides, or extends itself to create our souls, then why shouldn't the offspring of this intelligent soul energy have the same capacity to detach and then recombine?" Chapter Ten The Intermediate Soul

And for just a moment I had reached the point of ecstasy that I always wanted to reach, which was the complete step across chronological time into timeless shadows, and wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on, with a phantom dogging its own heels, and myself hurrying to a plank where all the angels dove off and flew into the holy void of uncreated emptiness, the potent and inconceivable radiancies shining in bright Mind Essence, innumerable lotus-lands falling open in the magic mothswarm of heaven. I could hear an indescribable seething roar which wasn’t in my ear but everywhere and had nothing to do with sounds. I realized that I had died and been reborn numberless times but just didn’t remember especially because the transitions from life to death and back to life are so ghostly easy, a magical action for naught, like falling asleep and waking up again a million times, the utter casualness and deep ignorance of it. I realized it was only because of the stability of the intrinsic Mind that these ripples of birth and death took place, like the action of wind on a sheet of pure, serene, mirror-like water. I felt sweet, swinging bliss, like a big shot of heroin in the mainline vein; like a gulp of wine late in the afternoon and it makes you shudder; my feet tingled. I thought I was going to die the very next moment.

What did E.S. like about dreams? Their similarity to life and their dissimilarity; their salutary effect on body and soul; their unrestricted choice and arrangement of themes and contents; their bottomless depths and eerie heights; their eroticism; their freedom; their openness to guidance by will and suggestion (a perfumed handkerchief under one's pillow, soft music on the radio or gramophone, etc.); their resemblance to death and their power to confer intimations of eternity; their resemblance to madness without the consequences of madness; their cruelty and their gentleness; their power to pry the deepest secrets out of us; their blissful silence, to which cries are not unknown; their telepathic and spiritist faculty of communication with those dead or far away; their coded language, which we manage to understand and translate; their ability to condense the mythical figures of Icarus, Ahasuerus, Jonah, Noah, etc., into images; their monochrome and polychrome quality; their resemblance to the womb and to the jaws of a shark; their faculty of transforming unknown places, people, and landscapes into known ones, and vice versa; their power to diagnose certain ailments and traumas before it is too late; the difficulty of determining how long they last; the fact that they can be mistaken for reality; their power to preserve images and distant memories; their disrespect for chronology and the classical unities of time and action.

And for just a moment I had reached the point of ecstasy that I always wanted to reach, which was the complete step across chronological time into timeless shadows, and wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on, with a phantom dogging its own heels, and myself hurrying to a plank where all the angels dove off and flew into the holy void of uncreated emptiness, the potent and inconceivable radiancies shining in bright Mind Essence, innumerable lotus-lands falling open in the magic mothswarm of heaven. I could hear an indescribable seething roar which wasn’t in my ear but everywhere and had nothing to do with sounds. I realized that I had died and been reborn numberless times but just didn’t remember especially because the transitions from life to death and back to life are so ghostly easy, a magical action for naught, like falling asleep and waking up again a million times, the utter casualness and deep ignorance of it. I realized it was only because of the stability of the intrinsic Mind that these ripples of birth and death took place, like the action of wind on a sheet of pure, serene, mirror-like water. I felt sweet, swinging bliss, like a big shot of heroin in the mainline vein; like a gulp of wine late in the afternoon and it makes you shudder; my feet tingled. I thought I was going to die the very next moment. But I didn’t die, and walked four miles and picked up ten long butts and took them back to Marylou’s hotel room and poured their tobacco in my old pipe and lit up. I was too young to know what had happened.

I counted my years and found that I have less time to live from here on than I have lived up to now. I feel like that child who won a packet of sweets: he ate the first with pleasure, but when he realized that there were few left, he began to enjoy them intensely. I no longer have time for endless meetings where statutes, rules, procedures and internal regulations are discussed, knowing that nothing will be achieved. I no longer have time to support the absurd people who, despite their chronological age, haven't grown up. My time is too short: I want the essence, my soul is in a hurry. I don't have many sweets in the package anymore. I want to live next to human people, very human, who know how to laugh at their mistakes, and who are not inflated by their triumphs, and who take on their responsibilities. Thus, human dignity is defended, and we move towards truth and honesty. It is the essential that makes life worth living. I want to surround myself with people who know how to touch hearts, people who have been taught by the hard blows of life to grow with gentle touches of the soul. Yes, I'm in a hurry, I'm in a hurry to live with the intensity that only maturity can give. I don't intend to waste any of the leftover sweets. I am sure they will be delicious, much more than what I have eaten so far. My goal is to reach the end satisfied and at peace with my loved ones and my conscience. We have two lives. And the second begins when you realize you only have one. Credits: Mário Raul de Morais Andrade (Oct 9, 1893 – Feb 25, 1945) Brazilian poet, novelist, musicologist, art historian and critic, photographer

Based on a 1934 play by George S. Kaufman and Moss Hart, Merrily We Roll Along tells the story of three friends—Franklin Shepard, a composer; Charley Kringas, a playwright and lyricist; and Mary Flynn, a novelist—who meet in the enthusiasm of youth, when everything seems possible. The play traces what happens to their dreams and goals as time passes and they are faced with life’s surprises, travails, successes, and disappointments. The trick here is that the play moves chronologically backward. It begins on an evening in 1976 at a party for the opening of a movie Frank has produced. The movie is apparently a hit, but Frank’s personal life is a mess. His second wife, Gussie, formerly a Broadway star, was supposed to have starred in the movie but was deemed too old; she resents being in the shadows and suspects, correctly, that Frank is having an affair with the young actress who took over her part. Frank is estranged from his son from his first marriage. He is also estranged from Charley, his former writing partner—so estranged, in fact, that the very mention of his name brings the party to an uncomfortable standstill. Mary, unable to re-create the success of her one and only novel and suffering from a longtime unreciprocated love for Frank, has become a critic and a drunk; the disturbance she causes at the party results in a permanent break with Frank. The opening scene reaches its climax when Gussie throws iodine in the eyes of Frank’s mistress. The ensemble, commenting on the action much like the Greek chorus in Allegro, reprises the title song, asking, “How did you get to be here? / What was the moment?” (F 387). The play then moves backward in time as it looks for the turning points, the places where multiple possibilities morphed into narrative necessity.

So why haven’t we been visited? Maybe the probability of life spontaneously appearing is so low that Earth is the only planet in the galaxy—or in the observable universe—on which it happened. Another possibility is that there was a reasonable probability of forming self-reproducing systems, like cells, but that most of these forms of life did not evolve intelligence. We are used to thinking of intelligent life as an inevitable consequence of evolution, but what if it isn’t? The Anthropic Principle should warn us to be wary of such arguments. It is more likely that evolution is a random process, with intelligence as only one of a large number of possible outcomes. It is not even clear that intelligence has any long-term survival value. Bacteria, and other single-cell organisms, may live on if all other life on Earth is wiped out by our actions. Perhaps intelligence was an unlikely development for life on Earth, from the chronology of evolution, as it took a very long time—two and a half billion years—to go from single cells to multi-cellular beings, which are a necessary precursor to intelligence. This is a good fraction of the total time available before the Sun blows up, so it would be consistent with the hypothesis that the probability for life to develop intelligence is low. In this case, we might expect to find many other life forms in the galaxy, but we are unlikely to find intelligent life. Another way in which life could fail to develop to an intelligent stage would be if an asteroid or comet were to collide with the planet. In 1994, we observed the collision of a comet, Shoemaker–Levy, with Jupiter. It produced a series of enormous fireballs. It is thought the collision of a rather smaller body with the Earth, about sixty-six million years ago, was responsible for the extinction of the dinosaurs. A few small early mammals survived, but anything as large as a human would have almost certainly been wiped out. It is difficult to say how often such collisions occur, but a reasonable guess might be every twenty million years, on average. If this figure is correct, it would mean that intelligent life on Earth has developed only because of the lucky chance that there have been no major collisions in the last sixty-six million years. Other planets in the galaxy, on which life has developed, may not have had a long enough collision-free period to evolve intelligent beings. A third possibility is that there is a reasonable probability for life to form and to evolve to intelligent beings, but the system becomes unstable and the intelligent life destroys itself. This would be a very pessimistic conclusion and I very much hope it isn’t true. I prefer a fourth possibility: that there are other forms of intelligent life out there, but that we have been overlooked. In 2015 I was involved in the launch of the Breakthrough Listen Initiatives. Breakthrough Listen uses radio observations to search for intelligent extraterrestrial life, and has state-of-the-art facilities, generous funding and thousands of hours of dedicated radio telescope time. It is the largest ever scientific research programme aimed at finding evidence of civilisations beyond Earth. Breakthrough Message is an international competition to create messages that could be read by an advanced civilisation. But we need to be wary of answering back until we have developed a bit further. Meeting a more advanced civilisation, at our present stage, might be a bit like the original inhabitants of America meeting Columbus—and I don’t think they thought they were better off for it.