Clarity Sayings Quotes

One should use common words to say uncommon things

One thing I do know about intimacy is that there are certain natural laws which govern the sexual experience of two people, and that these laws cannot be budged any more than gravity can be negotiated with. To feel physically comfortable with someone else's body is not a decision you can make. It has very little to do with how two people think or act or talk or even look. The mysterious magnet is either there, buried somewhere deep behind the sternum, or it is not. When it isn't there (as I have learned in the past, with heartbreaking clarity) you can no more force it to exist than a surgeon can force a patient's body to accept a kidney from the wrong donor. My friend Annie says it all comes down to one simple question: "Do you want your belly pressed against this person's belly forever --or not?

Stories have changed, my dear boy,” the man in the grey suit says, his voice almost imperceptibly sad. “There are no more battles between good and evil, no monsters to slay, no maidens in need of rescue. Most maidens are perfectly capable of rescuing themselves in my experience, at least the ones worth something, in any case. There are no longer simple tales with quests and beasts and happy endings. The quests lack clarity of goal or path. The beasts take different forms and are difficult to recognize for what they are. And there are never really endings, happy or otherwise. Things keep overlapping and blur, your story is part of your sister’s story is part of many other stories, and there in no telling where any of them may lead. Good and evil are a great deal more complex than a princess and a dragon, or a wolf and a scarlet-clad little girl. And is not the dragon the hero of his own story? Is not the wolf simply acting as a wolf should act? Though perhaps it is a singular wolf who goes to such lengths as to dress as a grandmother to toy with its prey.

You're water. We're the millstone. You're wind. We're dust blown up into shapes. You're spirit. We're the opening and closing of our hands. You're the clarity. We're the language that tries to say it. You're joy. We're all the different kinds of laughing.

When I say, ‘I love you,’ it’s not because I want you or because I can’t have you. It has nothing to do with me. I love what you are, what you do, how you try. I’ve seen your kindness and your strength. I’ve seen the best and the worst of you. And I understand with perfect clarity exactly what you are. You’re a hell of a person.

Some catastrophic moments invite clarity, explode in split moments: You smash your hand through a windowpane and then there is blood and shattered glass stained with red all over the place; you fall out a window and break some bones and scrape some skin. Stitches and casts and bandages and antiseptic solve and salve the wounds. But depression is not a sudden disaster. It is more like a cancer: At first its tumorous mass is not even noticeable to the careful eye, and then one day -- wham! -- there is a huge, deadly seven-pound lump lodged in your brain or your stomach or your shoulder blade, and this thing that your own body has produced is actually trying to kill you. Depression is a lot like that: Slowly, over the years, the data will accumulate in your heart and mind, a computer program for total negativity will build into your system, making life feel more and more unbearable. But you won't even notice it coming on, thinking that it is somehow normal, something about getting older, about turning eight or turning twelve or turning fifteen, and then one day you realize that your entire life is just awful, not worth living, a horror and a black blot on the white terrain of human existence. One morning you wake up afraid you are going to live. In my case, I was not frightened in the least bit at the thought that I might live because I was certain, quite certain, that I was already dead. The actual dying part, the withering away of my physical body, was a mere formality. My spirit, my emotional being, whatever you want to call all that inner turmoil that has nothing to do with physical existence, were long gone, dead and gone, and only a mass of the most fucking god-awful excruciating pain like a pair of boiling hot tongs clamped tight around my spine and pressing on all my nerves was left in its wake. That's the thing I want to make clear about depression: It's got nothing at all to do with life. In the course of life, there is sadness and pain and sorrow, all of which, in their right time and season, are normal -- unpleasant, but normal. Depression is an altogether different zone because it involves a complete absence: absence of affect, absence of feeling, absence of response, absence of interest. The pain you feel in the course of a major clinical depression is an attempt on nature's part (nature, after all, abhors a vacuum) to fill up the empty space. But for all intents and purposes, the deeply depressed are just the walking, waking dead. And the scariest part is that if you ask anyone in the throes of depression how he got there, to pin down the turning point, he'll never know. There is a classic moment in The Sun Also Rises when someone asks Mike Campbell how he went bankrupt, and all he can say in response is, 'Gradually and then suddenly.' When someone asks how I love my mind, that is all I can say too

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

It's the strangest thing about being human: to know so much, to communicate so much, and yet always to fall so drastically short of clarity, to be, in the end, so isolate and inadequate. Even when people try to say things, they say them poorly or obliquely, or they outright lie, sometimes because they're lying to you, but as often because they're lying to themselves.

There are seconds, they come only five or six at a time, and you suddenly feel the presence of eternal harmony, fully achieved. It is nothing earthly; not that it's heavenly, but man cannot endure it in his earthly state. One must change physically or die. The feeling is clear and indisputable. As if you suddenly sense the whole of nature and suddenly say: yes, this is true. God, when he was creating the world, said at the end of each day of creation: 'Yes, this is true, this is good.' This . . . this is not tenderheartedness, but simply joy. You don't forgive anything, because there is no longer anything to forgive. You don't really love — oh, what is here is higher than love! What's most frightening is that it's so terribly clear, and there's such joy. If it were longer than five seconds — the soul couldn't endure it and would vanish. In those five seconds I live my life through, and for them I would give my whole life, because it's worth it. To endure ten seconds one would have to change physically . . . .

Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition. I warn you. Look at every path closely and deliberately. Try it as many times as you think necessary. This question is one that only a very old man asks. Does this path have a heart? All paths are the same: they lead nowhere. They are paths going through the bush, or into the bush. In my own life I could say I have traversed long long paths, but I am not anywhere. Does this path have a heart? If it does, the path is good; if it doesn't, it is of no use. Both paths lead nowhere; but one has a heart, the other doesn't. One makes for a joyful journey; as long as you follow it, you are one with it. The other will make you curse your life. One makes you strong; the other weakens you. Before you embark on any path ask the question: Does this path have a heart? If the answer is no, you will know it, and then you must choose another path. The trouble is nobody asks the question; and when a man finally realizes that he has taken a path without a heart, the path is ready to kill him. At that point very few men can stop to deliberate, and leave the path. A path without a heart is never enjoyable. You have to work hard even to take it. On the other hand, a path with heart is easy; it does not make you work at liking it.

...In books there's always somebody standing by ready to say hey, the world's in danger, evil's on the rise, but if you're really quick and take this ring and put it in that volcano over there everything will be fine. "But in real life that guy never turns up. He's never there. He's busy handing out advice in the next universe over. In our world no one ever knows what to do, and everyone's just as clueless and full of crap as everyone else, and you have to figure it all out by yourself. And even after you've figured it out and done it, you'll never know whether you were right or wrong. You'll never know if you put the ring in the right volcano, or if things might have gone better if you hadn't. There's no answers in the back of the book.

You were born where you were born and faced the future that you faced because you were black and for no other reason. The limits of your ambition were, thus, expected to be set forever. You were born into a society which spelled out with brutal clarity, and in as many ways as possible, that you were a worthless human being. You were not expected to aspire to excellence: you were expected to make peace with mediocrity. Wherever you have turned, James, in your short time on this earth, you have been told where you could go and what you could do (and how you could do it) and where you could live and whom you could marry. I know your countrymen do not agree with me about this, and I hear them saying "You exaggerate." They do not know Harlem, and I do. So do you. Take no one's word for anything, including mine- but trust your experience. Know whence you came.

Say your truth—kindly, but fully and completely. Live your truth, gently, but totally and consistently. Change your truth easily and quickly when your experience brings you new clarity.

We’d said we’d keep in touch. But touch is not something you can do from a distance. Touch is not something you can keep; as soon as it’s gone, it’s gone. We should have said we’d keep in words, because they are all we can string between us-words on a telephone line, words appearing on a screen. But they cause more complications than clarity. On the phone, there are always voices in the background. On the screen, there are always the sentences saying he has to go.

I pictured him in uniform. Let's just say the picture was...nice.

Usually, when we think of power, we think of external power. And we think of powerful people as those who have made it in the world. A powerful woman isn’t necessarily someone who has money, but we think of her as someone with a boldness or a spark that makes her manifest in a dramatic way. When we think of a powerful man, we think of his ability to manifest abundance, usually money, in the world. Most people say that a powerful woman does best with a powerful man, that she needs someone who understands the bigness of her situation, a man who can meet her at the same or even greater level of power in the world. Now this is true, if power is defined as material abundance. A woman often faces cultural prejudice when she makes more money than a man, as does he. A woman who defines power by worldly standards can rarely feel totally relaxed in the arms of a man who doesn’t have it. If power is seen as an internal matter, then the situation changes drastically. Internal power has less to do with money and worldly position, and more to do than with emotional expansiveness, spirituality and conscious living… I used to think I needed a powerful man, someone who could protect me from the harshness and evils of the world. What I have come to realize is that…the powerful man I was looking for would be foremost, someone who supported me in keeping myself on track spiritually, and in so maintaining clarity within myself, that life would present fewer problems. When it did get rough, he would help me forgive. I no longer wanted somebody who would say to me, “Don’t worry honey, if they’re mean to you I’ll beat them up or buy them out.” Instead, I want someone who prays and meditates with me regularly so that fewer monsters from the outer world disturb me, and who when they do, helps me look within my own consciousness for answers, instead of looking to false power to combat false power. There’s a big difference between a gentle man and a weak man. Weak men make us nervous. Gentle men make us calm.

The anchor symbolizes clarity and courage during chaos and confusion,” my Grand-mere says. “Chaos and Confusion, aren’t those your cats names?” Now I know her story is a delusion.

December 27, 11:00 p.m. My Dear America, I’ve never written a love letter, so forgive me if I fail now. . . . The simple thing would be to say that I love you. But, in truth, it’s so much more than that. I want you, America. I need you. I’ve held back so much from you out of fear. I’m afraid that if I show you everything at once, it will overwhelm you, and you’ll run away. I’m afraid that somewhere in the back of your heart is a love for someone else that will never die. I’m afraid that I will make a mistake again, something so huge that you retreat into that silent world of yours. No scolding from a tutor, no lashing from my father, no isolation in my youth has ever hurt me so much as you separating yourself from me. I keep thinking that it’s there, waiting to come back and strike me. So I’ve held on to all my options, fearing that the moment I wipe them away, you will be standing there with your arms closed, happy to be my friend but unable to be my equal, my queen, my wife. And for you to be my wife is all I want in the world. I love you. I was afraid to admit it for a long time, but I know it now. I would never rejoice in the loss of your father, the sadness you’ve felt since he passed, or the emptiness I’ve experienced since you left. But I’m so grateful that you had to go. I’m not sure how long it would have taken for me to figure this out if I hadn’t had to start trying to imagine a life without you. I know now, with absolute certainty, that is nothing I want. I wish I was as true an artist as you so that I could find a way to tell you what you’ve become to me. America, my love, you are sunlight falling through trees. You are laughter that breaks through sadness. You are the breeze on a too-warm day. You are clarity in the midst of confusion. You are not the world, but you are everything that makes the world good. Without you, my life would still exist, but that’s all it would manage to do. You said that to get things right one of us would have to take a leap of faith. I think I’ve discovered the canyon that must be leaped, and I hope to find you waiting for me on the other side. I love you, America. Yours forever, Maxon

Because—how do you explain that it is never inspiration that drives you to tell a story, but rather a combination of anger and clarity? How do you say: No, we do not find inspiration here, but we find a country that is as beautiful as it is broken, and we are somehow now part of it, so we are also broken with it, and feel ashamed, confused, and sometimes hopeless, and are trying to figure out how to do something about all that.

Kingdom praying and its efficacy is entirely a matter of the innermost heart's being totally open and honest before God. It is a matter of what we are saying with our whole being, moving with resolute intent and clarity of mind into the flow of God's action.

Autumn has come to northeast Montana. The vapor of one’s breath, the clarity of the stars, the smell of wood smoke, the stones underfoot that even a full day of sunlight won’t warm- these all say there will be no more days that can be mistaken for summer.

The tapping grows insistent, and I turn, intending to tell off the Cadet. Instead, I'm faced with a slave-girl looking up at me through impossibly long eyelashes. A heated, visceral shock flares through me at the clarity of her dark gold eyes. For a second, I forget my name. I've never seen her before, because if I had, I'd remember. Despite the heavy silver cuffs and high, painful-looking bun that mark all of Blackcliff's drudges, nothing about her says slave. Her black dress fits her like a glove, sliding over every curve in a way that makes more than one head turn. Her full lips and fine, straight nose would be the envy of most girls, Scholar or not. I stare at her, realize I'm staring, tell myself to stop staring, and then keep staring. My breath falters, and my body, traitor that is, tugs me forward until there are only inches between us. “Asp-aspirant Veturius.” It's the way she says my name—like it's something to fear—that brings me back to myself. Pull it together, Veturius. I step away, appalled at myself when I see the terror in her eyes. “What is it?” I ask calmly.

He had no faintest conception till that very hour of how they would look, and even doubted their existence. But when he saw them he knew that he had always known them and realized what part each one of them had played at many an hour in his life when he had supposed himself alone, so that now he could say to them, one by one, not ‘Who are you?’ but ‘So it was you all the time.’ All that they were and said at this meeting woke memories. The dim consciousness of friends about him which had haunted his solitudes from infancy was now at last explained; that central music in every pure experience which had always just evaded memory was now at last recovered...He saw not only Them; he saw Him. This animal, this thing begotten in a bed, could look on Him. What is blinding, suffocating fire to you is now cool light to him, is clarity itself, and wears the form of a man.

Admitting a mistake is not a weakness; on the contrary, it shows an openness of your heart. It takes guts to say sorry. Only a strong and well-balanced individual with clarity of mind can do so effortlessly. Taking responsibility for your actions requires and develops your self-control. You become your own person.

People say the darkness is where secrets are best hidden. Night time brings clarity and focus to owls, even if the aperture of this vision comes with a stigma.

He says my name, over and over as we move together, until I'm caught in a strange place between weak and strong, between dizziness and clarity and need and satiety and give and take and... "Ky," I say back.

It’s a strange thing, being the parent of a teenager. One thing to raise a little boy, another entirely when a person on the brink of adulthood looks to you for wisdom. I feel like I have little to give. I know there are fathers who see the world a certain way, with clarity and confidence, who know just what to say to their sons and daughters. But I’m not one of them. The older I get, the less I understand. I love my son. He means everything to me. And yet, I can’t escape the feeling that I’m failing him. Sending him off to the wolves with nothing but the crumbs of my uncertain perspective.

There are times in relationships, when we blow it. In spite of our best intentions, we wrong others. Our jealousy makes us feel inferior. Our own wounds cause us to act irrationally. Our insecurities lead us to say hurtful things. And so, we find ourselves acting out. In short, we cloud our lives with muddy water. We trash around the pond of our emotions until things are just too messed up to figure out how to fix them. It is in the times of muddy water that we learn how to wait it out. We have to wait until the mud settles. We must wait until we can clearly see where the water of our lives ends and the mud of misplaced emotions begin. Have the patience to wait until the mud settles. Be still until the water is clear. In clear water, words come. Right actions reveal them selves and healing appears.---From the Devotional A Word in Season

Last Year Clare would have a lot to say to This Year Clare if she could have peeked into the future and seen me in Kendra Kiger's house. She'd probably slap me upside the head and say some variation of "Hey, Future Clare, wtf?

So what do you do when you are stuck? The first thing I do when I am stuck is pray. But I’m not talking about a quick, Help me Lord, Sunday’s a comin’ prayer. When I get stuck I get up from my desk to head for my closet. Literally. If I‘m at the office I go over to a corner that I have deemed my closet away from home. I get on my knees and remind God that this was not my idea, it was His… None of this is new information to God… Then I ask God to show me if there is something He wants to say to prepare me for what He wants me to communicate to our congregation. I surrender my ideas, my outline and my topic. Then I just stay in that quiet place until God quiets my heart… Many times I will have a breakthrough thought or idea that brings clarity to my message. . . Like you, I am simply a mouthpiece. Getting stuck is one way God keeps me ever conscious of that fact.

She’d probably slap me upside the head and say some variation of 'Hey, Future Clare, wtf?

A good sentence, I find myself saying frequently, is one that the reader can follow from beginning to end, no matter how long it is, without having to double back in confusion because the writer misused or omitted a key piece of punctuation, chose a vague or misleading pronoun, or in some other way engaged in inadvertent misdirection.

If I believed in curses, I would believe that this is mine: when it matters most, in the moments when I know with the greatest clarity exactly what needs to be done, everything I say comes out wrong.

If my opinion runs more than twenty pages,” she said, “I am disturbed that I couldn’t do it shorter.” The mantra in her chambers is “Get it right and keep it tight.” She disdains legal Latin, and demands extra clarity in an opinion’s opening lines, which she hopes the public will understand. “If you can say it in plain English, you should,” RBG says. Going through “innumerable drafts,” the goal is to write an opinion where no sentence should need to be read twice. “I think that law should be a literary profession,” RBG says, “and the best legal practitioners regard law as an art as well as a craft.

Truth" when examining events and records of the past was always precarious, uncertain. No man could say for certain how the river of time would have flowed, cresting or receding, bringing floods or gently watering fields, had a single event, or even many, unfolded differently. It is in the nature of existence under heaven, the dissenting scholars wrote, that we cannot know these things with clarity. We cannot live twice, or watch as moments of the past unfurl, like a courtesan's silk fan. The river flows, the dancers finish their dance. If the music starts again it is starting anew, not repeating itself.

Words are not just wind. Words have something to say. But if what they have to say is not fixed, then do they really say something? Or do they say nothing? People suppose that words are different from the peeps of baby birds, but is there any difference, or isn't there? What does the Way rely upon, that we have true and false? What do words rely upon, that we have right and wrong? How can the Way go away and not exist? How can words exist and not be acceptable? When the Way relies on little accomplishments and words reply on vain show, then we have rights and wrongs of the Confucians and the Mo-ists. What one calls right the other calls wrong; what one calls wrong the other calls right. But if we want to right their wrongs and wrong their rights, then the best to use is clarity.

Believers favour answers over questions, clarity over uncertainty. Athiests, more or less the same. Funny, when it comes to God, Whom we know next to nothing about, very few of us actually say, 'I don't know.

It’s an already inside outside, The philosophers say it’s the soul But it’s not the soul: it’s the animal or the man itself In its way of existing.

Atheism is without God. It does not assert no God. The atheist does not say that there is no God, but he says 'I know not what you mean by God. I am without the idea of God. The word God to me is a sound conveying no clear or distinct affirmation. I do not deny God, because I cannot deny that of which I have no conception, and the conception of which by its affirmer is so imperfect that he is unable to define it for me.

If we were to gain God's perspective, even for a moment, and were to look at the way we go through life accumulating and hoarding and displaying our things, we would have the same feelings of horror and pity that any sane person has when he views people in an asylum endlessly beating their heads against the wall.

The past and the present, might we say, go like this. The future is a maybe. Yet we look back on the darkness that obscures the path that brought us fair, we only come up with another indefinite maybe. The only thing we perceive with any clarity is the present moment, and even that just passes by.

When we talk of "exploring the mystical," we are not trying to dig into creation, because if you dig into creation, it will only get more complex. It will not bring clarity; it will only bring more complexity. That is why the yogis looked in a different direction. We looked inward. If you look inward, a different dimension opens up. Now instead of things getting more complex, you get to clarity. It is because of this that we say that those who look inward have a third eye. They see things that others cannot see. They have brought a new clarity to life.

I know there is a thin silver line between the sane and the insane, and even in that realm of madness, there are degrees of reason, fluttering moments of clarity and truth. Maybe the world can't handle the their truth. Maybe we are too weak. Maybe, like Sloth used to say, "It's the blind who see the most.

I'm a scientist. I find beauty in absolutes. I love the clarity of math, its unwavering dependability. Math will never say one thing and do another one. It will never harm you on purpose because its only purpose is truth.

People often say “Just look for the silver lining.” But what do you say to the person surrounded by fog? They don’t see a fluffy object in the sky, blocking the sun for a moment or two. But instead, they see everything as it was before, but through the murky, un-clarity of hopelessness. As if they were standing at the bottom of a grimy lake except able to breathe. But not wanting to because with each breath they grow numb from the cold loneliness. What if they’re surrounded by a dreary blanket of darkness, made up of their own thoughts, too impenetrable for any light to break through? So what do you tell that person who, as far as the eye could see, only sees fog? A place where there is no silver lining peeking around the corner. Imagine a place where your only companion is the confusion you walk around with.

Whenever I hurt myself, my mother says it is the universe’s way of telling me to slow down. She also tells me to put some coconut oil on it. It doesn’t matter what it is. She often hides stones underneath my pillow when I come home for the weekend. The stones are a formula for sweet dreams and clarity. I dig them out from the streets, she tells me what each one is for. My throat hurts, so she grinds black pepper into a spoonful of honey, makes me eat the entire thing. My mother knows how to tie knots like a ship captain, but doesn’t know how I got that sailor mouth. She falls asleep in front of the TV only until I turn it off, shouts, I was watching that! The sourdough she bakes on Friday is older than I am. She sneaks it back and forth across the country when she flies by putting the starter in small containers next to a bag of carrots. They think it’s ranch dressing, she giggles. She makes tea by hand. Nettles, slippery elm, turmeric, cinnamon- my mother is a recipe for warm throats and belly laughs. Once she fell off of a ladder when I was three. She says all she was worried about was my face as I watched her fall.

If you can cut yourself—your mind—free of what other people do and say, of what you’ve said or done, of the things that you’re afraid will happen, the impositions of the body that contains you and the breath within, and what the whirling chaos sweeps in from outside, so that the mind is freed from fate, brought to clarity, and lives life on its own recognizance —doing what’s right, accepting what happens, and speaking the truth— If you can cut free of impressions that cling to the mind, free of the future and the past—can make yourself, as Empedocles says, “a sphere rejoicing in its perfect stillness,” and concentrate on living what can be lived (which means the present) . . . then you can spend the time you have left in tranquillity. And in kindness. And at peace with the spirit within you.

it is all clearer now than it was then. Rhea would say it is the vivid fabrications of an ageing mind. More likely, though, it is the clarity that comes from ageing - from the natural process of releasing the mind from imagined futures, and allow the present and paste to take their rightful place at the centre of our attention. The past is palpable to Sheldon now, in the way the future is to the young. It is either a brief curse or a gift before oblivion.

...it was one of the best meals we ever ate. Perhaps that is because it was the first conscious one, for me at least; but the fact that we remember it with such queer clarity must mean that it had other reasons for being important. I suppose that happens at least once to every human. I hope so. Now the hills are cut through with superhighways, and I can't say whether we sat that night in Mint Canyon or Bouquet, and the three of us are in some ways even more than twenty-five years older than we were then. And still the warm round peach pie and the cool yellow cream we ate together that August night live in our hearts' palates, succulent, secret, delicious.

On the first day of November last year, sacred to many religious calendars but especially the Celtic, I went for a walk among bare oaks and birch. Nothing much was going on. Scarlet sumac had passed and the bees were dead. The pond had slicked overnight into that shiny and deceptive glaze of delusion, first ice. It made me remember sakes and conjure a vision of myself skimming backward on one foot, the other extended; the arms become wings. Minnesota girls know that this is not a difficult maneuver if one's limber and practices even a little after school before the boys claim the rink for hockey. I think I can still do it - one thinks many foolish things when November's bright sun skips over the entrancing first freeze. A flock of sparrows reels through the air looking more like a flying net than seventy conscious birds, a black veil thrown on the wind. When one sparrow dodges, the whole net swerves, dips: one mind. Am I part of anything like that? Maybe not. The last few years of my life have been characterized by stripping away, one by one, loves and communities that sustain the soul. A young colleague, new to my English department, recently asked me who I hang around with at school. "Nobody," I had to say, feeling briefly ashamed. This solitude is one of the surprises of middle age, especially if one's youth has been rich in love and friendship and children. If you do your job right, children leave home; few communities can stand an individual's most pitiful, amateur truth telling. So the soul must stand in her own meager feathers and learn to fly - or simply take hopeful jumps into the wind. In the Christian calendar, November 1 is the Feast of All Saints, a day honoring not only those who are known and recognized as enlightened souls, but more especially the unknowns, saints who walk beside us unrecognized down the millennia. In Buddhism, we honor the bodhisattvas - saints - who refuse enlightenment and return willingly to the wheel of karma to help other beings. Similarly, in Judaism, anonymous holy men pray the world from its well-merited destruction. We never know who is walking beside us, who is our spiritual teacher. That one - who annoys you so - pretends for a day that he's the one, your personal Obi Wan Kenobi. The first of November is a splendid, subversive holiday. Imagine a hectic procession of revelers - the half-mad bag lady; a mumbling, scarred janitor whose ravaged face made the children turn away; the austere, unsmiling mother superior who seemed with great focus and clarity to do harm; a haunted music teacher, survivor of Auschwitz. I bring them before my mind's eye, these old firends of my soul, awakening to dance their day. Crazy saints; but who knows what was home in the heart? This is the feast of those who tried to take the path, so clumsily that no one knew or notice, the feast, indeed, of most of us. It's an ugly woods, I was saying to myself, padding along a trail where other walkers had broken ground before me. And then I found an extraordinary bouquet. Someone had bound an offering of dry seed pods, yew, lyme grass, red berries, and brown fern and laid it on the path: "nothing special," as Buddhists say, meaning "everything." Gathered to formality, each dry stalk proclaimed a slant, an attitude, infinite shades of neutral. All contemplative acts, silences, poems, honor the world this way. Brought together by the eye of love, a milkweed pod, a twig, allow us to see how things have been all along. A feast of being.

Guys do have a language, and it does express emotion with startling clarity and nuance. The idea that they don’t express their feelings is as absurd as traveling to a foreign country and claiming the natives can’t speak simply because you don’t understand what they’re saying.

I noticed then that the red-haired woman was buying the food you eat when you live alone: a box of cereal, a few apples, a plastic container of plain yogurt....With an abrupt clarity, I saw how I had been launched into another category. I had been the red-haired woman; for a decade of my adult life, I had bought cereal and yogurt, I'd stood near couples and watched them nuzzle, and now I was part of such a couple. And I would not be launched back, I was certain. But I recognized her life, I knew it so well! I wanted to clasp her freckled hand, to say to her--surely we understood some shared code (or surely not, surely she'd have thought me preposterous)--It's good on the other side, but it's good on your side too. Enjoy it there. The loneliness is harder and the loneliness is the biggest part; but some things are easier.

Still writing?" I usually nod and smile, then quickly change the subject. But here is what I would like to put down my fork and say: Yes, yes, I am. I will write until the day I die, or until I am robbed of my capacity to reason. Even if my fingers were to clench and wither, even if I were to grow deaf or blind, even if I were unable to move a muscle in my body save for the blink of one eye, I would still write. Writing saved my life. Writing has been my window -- flung wide open to this magnificent, chaotic existence -- my way of interpreting everything within my grasp. Writing has extended that grasp by pushing me beyond comfort, beyond safety, past my self-perceived limits. It has softened my heart and hardened my intellect. It has been a privilege. It has whipped my ass. It has burned into me a valuable clarity. It has made me think about suffering, randomness, good will, luck, memory responsibility, and kindness, on a daily basis -- whether I feel like it or not. It has insisted that I grow up. That I evolve. It has pushed me to get better, to be better. It is my disease and my cure. It has allowed me not only to withstand the losses in my life but to alter those losses -- to chip away at my own bewilderment until I find the pattern in it. Once in a great while, I look up at the sky and think that, if my father were alive, maybe he would be proud of me. That if my mother were alive, I might have come up with the words to make her understand. That I am changing what I can. I am reaching a hand out to the dead and to the living and the not yet born. So yes. Yes. Still writing.

The more we have known of the really good things, the more insipid the thin lemonade of later literature becomes, sometimes almost to the point of making us sick. Do you know a work of literature written in the last, say, fifteen years that you think has any lasting quality? I don't. It is partly idle chatter, partly propaganda, partly self-pitying sentimentality, but there is no insight, no ideas, no clarity, no substance and almost always the language is bad and constrained. On this subject I am quite consciously a laudator temporis acti.

Welcome to Lorelei's." A saleslady glided up to us. She had white foundation pancaked skin, and went heavy on the eyeliner and red lipstick. She wore a corset that barely contained...I'm gonna say it...her swelling bosom. If she had to sneeze, I was covering my eyes because even a slight cough could pop one of those suckers free.

Some say freedom is a gift placed in our hands by our forefathers. Some say freedom is a human right that none should be denied. Some say freedom is a privilege that can and will be seized if taken for granted. Some say freedom is the key that opens doors otherwise meant to imprison. Some say freedom is power to do, to be, to say, and to accomplish what the oppressed cannot. Some say freedom is a responsibility—a weight to be carried and shared by those willing to protect it. Perhaps freedom is all these things. But in my eyes, I see freedom as a treasure. It is a gem so rare and precious the fiercest battles rage over it. The blood of thousands is spilled for it—past, present, and future. Where true and unblemished freedom exists, it shines with perfect clarity, drawing the greedy masses, both those who desire a portion of the spoils and those who would rob the possessor of the treasure, hoping to bury it away. Without freedom I am a slave in shackles on a ship lost at sea. With freedom I am a captain; I am a pirate; I am an admiral; I am a scout; I am the eagle souring overhead; I am the north star guiding a crew; I am the ship itself; I am whatever I choose to be.

Afterward their ghosts played, yet both of them hoped from their souls never to meet. Was it the infinite sadness of her eyes that drew him or the mirror of himself that he found in the gorgeous clarity of her mind? She will have no other adventure like Amory, and if she reads this she will say: "And Amory will have no other adventure like me.

When the Time Is Right: December 7 There are times when we simply do not know what to do, or where to go, next. Sometimes these periods are brief, sometimes lingering. We can get through these times. We can rely on our program and the disciplines of recovery. We can cope by using our faith, other people, and our resources. Accept uncertainty. We do not always have to know what to do or where to go next. We do not always have clear direction. Refusing to accept the inaction and limbo makes things worse. It is okay to temporarily be without direction. Say “I don’t know,” and be comfortable with that. We do not have to try to force wisdom, knowledge, or clarity when there is none. While waiting for direction, we do not have to put our life on hold. Let go of anxiety and enjoy life. Relax. Do something fun. Enjoy the love and beauty in your life. Accomplish small tasks. They may have nothing to do with solving the problem, or finding direction, but this is what we can do in the interim. Clarity will come. The next step will present itself. Indecision, inactivity, and lack of direction will not last forever. Today, I will accept my circumstances even if I lack direction and insight. I will remember to do things that make myself and others feel good during those times. I will trust that clarity will come of its own accord.

I sat still for awhile, and I saw something when the mist cleared that I had never fully seen before. If you see my truth as a sign of disrespect (because it conflicts with your truth), then nothing I can ever say can ever have an effect that isn't negative... So I didn't contradict anything. Anything. I just took it all in. And then, yes, I get to go back to my world and do with it what I will. I wouldn't do it for just anyone. But for them, it was worth it. It was so worth it.

Sight isolates, sound incorporates. Whereas sight situates the observer outside what he views, at a distance, sound pours into the hearer. Vision dissects, as Merleau-Ponty has observed (1961). Vision comes to a human being from one direction at a time: to look at a room or a landscape, I must move my eyes around from one part to another. When I hear, however, I gather sound simultaneously from every directions at once; I am at the center of my auditory world, which envelopes me, establishing me at a kind of core of sensation and existence... You can immerse yourself in hearing, in sound. There is no way to immerse yourself similarly in sight. By contrast with vision, the dissecting sense, sound is thus a unifying sense. A typical visual ideal is clarity and distinctness, a taking apart. The auditory ideal, by contrast, is harmony, a putting together. Interiority and harmony are characteristics of human consciousness. The consciousness of each human person is totally interiorized, known to the person from the inside and inaccessible to any other person directly from the inside. Everyone who says 'I' means something different by it from what every other person means. What is 'I' to me is only 'you' to you... In a primary oral culture, where the word has its existence only in sound... the phenomenology of sound enters deeply into human beings' feel for existence, as processed by the spoken word. For the way in which the word is experienced is always momentous in psychic life.

Because—how do you explain that it is never inspiration that drives you to tell a story, but rather a combination of anger and clarity? How do you say: No, we do not find inspiration here, but we find a country that is as beautiful as it is broken, and we are somehow now part of it, so we are also broken with it, and feel ashamed, confused, and sometimes hopeless, and are trying to figure out how to do something about all that. We

Now, I would say to myself, you are feeling alienated from people and unlike other people, therefore you are projecting your discomfort onto them. When you look at a face, you see a blob of rubber because you are worried that your face is a blob of rubber. This clarity made me able to behave normally, which posed some interesting questions. Was everybody seeing this stuff and acting as though they weren’t? Was insanity just a matter of dropping the act? If some people didn’t see these things, what was the matter with them? Were they blind or something? These questions had me unsettled.

Whatever you wish to do, you must bring yourself to a moment of joy and clarity within yourself. Why I am saying joy is because when you are happy you are not compulsive. When you are very happy and clear, at that time if you look at things and see that “Yes, this is what is more sensible for me” – just do that. It does not matter if it feels like hell; it does not matter if you go through hell for ten years, you just do that, because that is where your wellbeing is. Whenever your emotions go up and down, your mind says many things – that is not important. It says one thing in the morning, one thing in the evening; it says one thing today and another thing tomorrow, that is of no consequence. When you are in differennt states of compulsiveness, if you make decisions as to which way to turn, you will be endlessly lost.

When I’m writing, I’m trying to immerse myself in the chaos of an emotional experience, rather than separate myself from it and look back at it from a distance with clarity and tell it as a story. Because that’s how life is lived, you know? Life is not lived 10 years ahead of itself—there’s a lie to that. The conventional wisdom is—people say this all the time—you should only write something when you’re far enough away from it that you can have a perspective. But that’s not true. That’s a story that you’re telling. The truth of it is here, right now. It’s the only truth that we ever know.

Speaking a lot about something does not in the least guarantee that understanding is thus furthered. On the contrary, talking at great length about something covers things over and brings what is understood into an illusory clarity, that is, the unintelligibility of the trivial. But to keep silent does not mean to be mute ... one who is mute still has the tendency to "speak." ... Authentic silence is possible only in genuine discourse. In order to be silent, Dasein must have something to say.

I suppose this is a trivial matter but I do want to object to the maddening fuss-fidget punctuation which one of your editors is attempting to impose on my story. I said it before but I'll say it again, that unless necessary for clarity of meaning I would prefer a minimum of goddamn commas, hyphens, apostrophes, quotation marks and fucking (most obscene of all punctuation marks) semi-colons. I've had to waste hours erasing that storm of flyshit on the typescript. [Regarding "The Monkey Wrench Gang"]

When faced with contrast, take nothing personally and don’t try to defend yourself. Defending one’s self is a vibrational relative of guilt. People will think what they like; do not feed fuel to the fire by reacting. Simply ask questions for clarity and in response say ‘Is that so?’ Take responsibility for the energy you brought to the situation, acknowledge the illusions without attachment, and move forward. Other people’s opinions are none of your business. Remember that each person is on their own unique path, and the mirror of contrast you hold up to them may be exactly what is necessary for their conscious growth at that time.

Your three components: body, breath, mind. Two are yours in trust; to the third alone you have clear title. If you can cut yourself—your mind—free of what other people do and say, of what you’ve said or done, of the things that you’re afraid will happen, the impositions of the body that contains you and the breath within, and what the whirling chaos sweeps in from outside, so that the mind is freed from fate, brought to clarity, and lives life on its own recognizance—doing what’s right, accepting what happens, and speaking the truth— If you can cut free of impressions that cling to the mind, free of the future and the past—can make yourself, as Empedocles says, “a sphere rejoicing in its perfect stillness,” and concentrate on living what can be lived (which means the present) . . . then you can spend the time you have left in tranquillity. And in kindness. And at peace with the spirit within you.

Lauren,” he murmured. She looked up into his face, into his glazed eyes. Her lips parted to say something cutting, pithy, witty—God, anything would be better than nothing—when he leant toward her, those angry-sky eyes of his growing intense with clarity, and then his mouth was on hers. Lord, he still kisses… His tongue dipped past her lips, seeking and finding hers with little resistance. He tasted as good as he had fifteen years ago—toothpaste and coffee and him. He tasted as good. He smelt as good. He felt as good.

Some people, some nations, are permanently in shade. Some people cast a shadow. Lengths of elongated darkness precede them, even in church or when the sun is in, as they say, mopped up by the dirty cloth of the could. A puddle of dark forms around their feet. It's very pine like. The pine and darkness are one. Eucalypts are unusual in this respect: set pendulously their leaves allow see-through foliage which in turn produces a frail patterned sort of shade, if at all. Clarity, lack of darkness-these might be called 'eucalyptus qualities'.

There is no job, person, or city that you can force to be right for you if it is not, though you can pretend for a while. You can play games with yourself, you can justify and make ultimatums. You can say you’ll try just a little longer, and you can make excuses for why things aren’t working out right now. The truth is that what is right for you will come to you and stay with you and won’t stray from you for long. The truth is that when something is right for you, it brings you clarity, and when something is wrong for you, it brings you confusion.

If you turn to a branch of those sciences that try to give a solution to the questions of life--to physiology, psychology, biology, sociology--there you will find an astounding poverty of thought, a very great lack of clarity, completely unjustified claims to answer questions that lie outside their subject and never-ending contradictions between one thinker and others, and even within himself. If you turn to a branch of the sciences that is not concerned with solving the questions of life but answers its own scientific, specialized questions, then you are captivated by the power of human intellect but you know in advance that there are no answers to the questions of life. These sciences directly ignore the questions of life. They say, "We have no answers to 'What are you?' and 'Why do you live?' and are not concerned with this; but if you need to know the laws of light, of chemical compounds, the laws of the development of organisms, if you need to know the laws of bodies and their forms and the relation of numbers and quantities, if you need to know the laws of your own mind, to all that we have clear, precise, and unquestionable answers.

Ordinary psyches often react to bad news with a momentary thrill, seeing the world, for once, in jagged clarity, as if lightning has just struck. But then darkness and dysfunction rush in. A mind such as Beethoven's remains illumined, or sees in the darkness shapes it never saw before, which inspire rather than terrify. This altered shape (raptus, he would say) makes art of the shapes, while holding in counterpoise such dualities as intellect and intuition, the conscious and the unconscious, mental health and mental disorder, the conventional and the unconventional, complexity and simplicity.

Having and authentic voice means that: - We can openly share competence as well as problems and vulnerability. - We can warm things up and calm them down. - We can listen and ask questions that allow us to truly know the other person and to gather information about anything that may affect us. - We can say what we think and feel, state differences, and allow the other person to do the same. - We can define our values, convictions, principles, and priorities, and do our best to act in accordance with them. - We can define what we feel entitled to in a relationship, and we can clarify the limits of what we will tolerate or accept in another’s behavior. - We can leave (meaning that we can financially and emotionally support ourselves), if necessary.

Colin didn’t want to go back to his room. He walked around for a very long time, looking down at the sidewalks and streets, and thought of the things he and Dana might say to each other if she were with him. And every once in a while he would catch himself smiling and laughing a little, and it was those moments right after—as, having lapsed into fantasy, there was a correction, a moment of nothing and then a loose and sudden rush, back into the real world in a trick of escape, as if to some new place of possibilities—that he felt at once, and with clarity, most exhilarated, appreciative, disappointed, and accepting.

Absolutely alone in the dark. Every outside stimulus vanishes and there’s nothing except me in the darkness and the silence. I swear I can hear my thoughts. All my thoughts. And it’s horribly uncomfortable, and I want to switch on the light and say something and shove that aside. But the feeling passes in a few panicked heartbeats, and then … and then it’s indescribable. This is what I’ve been looking for in all those therapy sessions. Not a chance to tell someone my story. A chance to be alone with it. Utterly alone with it, and maybe that makes no sense, but it’s what I feel. Just me and that one defining moment in my past. Grief and rage and pain and guilt and clarity. Yes, clarity.

And though it has been in no way a romantic evening, she embraces me and this time emanates a warmth I’m not familiar with. I am so used to imagining everything happening the way it occurs in movies, visualizing things falling somehow into the shape of events on a screen, that I almost hear the swelling of an orchestra, can almost hallucinate the camera panning low around us, fireworks bursting in slow motion overhead, the seventy-millimeter image of her lips parting and the subsequent murmur of “I want you” in Dolby sound. But my embrace is frozen and I realize, at first distantly and they with greater clarity, that the havoc raging inside me is gradually subsiding and she is kissing me on the mouth and this jars me back into some kind of reality and I lightly push her away. She glances up at me fearfully. “Listen, I’ve got to go,” I say, checking my Rolex. “I don’t want to miss… Stupid Pet Tricks.

The goal - at least the way I think about entrepreneurship - is you realize one day that you can't really work anyone else. You have to start your own thing. It almost doesn't matter what the thing is. We had six different business plan changes, and then the last one was PayPal. If that one didn't work out, if we still had the money and the people, obviously we would not have given up. We would have iterated on the business model and done something else. I don't think there was ever clarity as to who we were until we knew it was working. By then, we'd figured out our PR pitch and told everyone what we do and who we are. But between the founding and the actual PayPal, it was just like this tug-of-war where it was like, "We're trying this, this week." Every week you go to investors and say, "We're doing this, exactly this. We're really focused. We're going to be huge." The next week you're like, "That was a lie.

The fury of confession, at first, then the fury of clarity: It was from you, Death, that such hypocritical obscure feeling was born! And now let them accuse me of every passion, let them bad-mouth me, let them say I’m deformed, impure, obsessed, a dilettante, a perjurer. You isolate me, you give me the certainty of life, I’m on the stake. I play the card of fire and I win this little, immense goodness of mine. I can do it, for I have suffered you too much! I return to you as an émigré returns to his own country and rediscovers it: I made a fortune (in the intellect) and I’m happy, as I once was, destitute of any norm, a black rage of poetry in my breast. A crazy old-age youth. Once your joy was confused with terror, it’s true, and now almost with other joy, livid and arid, my passion deluded. Now you really frighten me, for you are truly close to me, part of my angry state, of obscure hunger, of the anxiety almost of a new being.

The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation. By necessity, I suppose, it is difficult for me to explain in English exactly what I mean. I can only say that an incendium is in its nature entirely different from the feu with which a Frenchman lights his cigarette, and both are very different from the stark, inhuman pur that the Greeks knew, the pur that roared from the towers of Ilion or leapt and screamed on that desolate, windy beach, from the funeral pyre of Patroklos. Pur: that one word contains for me the secret, the bright, terrible clarity of ancient Greek. How can I make you see it, this strange harsh light which pervades Homer's landscapes and illumines the dialogues of Plato, an alien light, inarticulable in our common tongue? Our shared language is a language of the intricate, the peculiar, the home of pumpkins and ragamuffins and bodkins and beer, the tongue of Ahab and Falstaff and Mrs. Gamp; and while I find it entirely suitable for reflections such as these, it fails me utterly when I attempt to describe in it what I love about Greek, that language innocent of all quirks and cranks; a language obsessed with action, and with the joy of seeing action multiply from action, action marching relentlessly ahead and with yet more actions filing in from either side to fall into neat step at the rear, in a long straight rank of cause and effect toward what will be inevitable, the only possible end. In a certain sense, this was why I felt so close to the other in the Greek class. They, too, knew this beautiful and harrowing landscape, centuries dead; they'd had the same experience of looking up from their books with fifth-century eyes and finding the world disconcertingly sluggish and alien, as if it were not their home. It was why I admired Julian, and Henry in particular. Their reason, their very eyes and ears were fixed irrevocably in the confines of those stern and ancient rhythms – the world, in fact, was not their home, at least the world as I knew it – and far from being occasional visitors to this land which I myself knew only as an admiring tourist, they were pretty much its permanent residents, as permanent as I suppose it was possible for them to be. Ancient Greek is a difficult language, a very difficult language indeed, and it is eminently possible to study it all one's life and never be able to speak a word; but it makes me smile, even today, to think of Henry's calculated, formal English, the English of a well-educated foreigner, as compared with the marvelous fluency and self-assurance of his Greek – quick, eloquent, remarkably witty. It was always a wonder to me when I happened to hear him and Julian conversing in Greek, arguing and joking, as I never once heard either of them do in English; many times, I've seen Henry pick up the telephone with an irritable, cautious 'Hello,' and may I never forget the harsh and irresistible delight of his 'Khairei!' when Julian happened to be at the other end.

If you utter it, who will think of opposing you? The great choir of dogdom will join in as if it had been waiting for you. Then you will have clarity, truth, avowal, as much of them as you desire. The roof of this wretched life, of which you say so many hard things, will burst open, and all of us, shoulder to shoulder, will ascend into the lofty realm of freedom. And if we should not achieve the final consummation, if things should become worse than before, if the whole truth should be more insupportable than the half-truth, if it should be proved that the silent are the guardians of existence, if the faint hope that we still possess should give way to complete hopelessness, the attempt is still worth the trial, since you do not desire to live as you are compelled to live.

I just called the slaveholder version of Christianity "false." I believe that. But note that in situations of conflict participants view reality differently. The more intractable the conflict, especially where both sides have the capacity to hurt each other, the more difficult it is to determine who is "victim" and who is "oppressor." Think about how nothing is quite as predictable and fruitless as hearing estranged spouses blame each other for being abusive or oppressive. Liberation theology dealt with this perceptual gulf in conflicted situations by speaking of the "epistemological privilege of the poor/oppressed." This meant: the view of the truth of a conflictual situation is clearer from the underside than from the position of power. But this assumes that we know who is on the underside and who holds the power. I am not saying that the exodus-liberation-deliverance motif is invalidated; I am saying that few situations present themselves to us in such clarity as Exod. 1-2 enslavement and infanticide do.

Not soon, as late as the approach of my ninetieth year, I felt a door opening in me and I entered the clarity of early morning. One after another my former lives were departing, like ships, together with their sorrow. And the countries, cities, gardens, the bays of seas assigned to my brush came closer, ready now to be described better than they were before. I was not separated from people, grief and pity joined us. We forget—I kept saying—that we are all children of the King. For where we come from there is no division into Yes and No, into is, was, and will be. We were miserable, we used no more than a hundredth part of the gift we received for our long journey. Moments from yesterday and from centuries ago— a sword blow, the painting of eyelashes before a mirror of polished metal, a lethal musket shot, a caravel staving its hull against a reef—they dwell in us, waiting for a fulfillment. I knew, always, that I would be a worker in the vineyard, as are all men and women living at the same time, whether they are aware of it or not.

Say you could view a time lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by widening lead. Mountains burst up, jutting, and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up- mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash-frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and crumble, like paths of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues whose split second in the light was too brief an exposure to yield any image but the hunched shadowless figures of ghosts. Slow it down more, come closer still. A dot appears, a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

Stories have changed, my dear boy,” the man in the grey suit says, his voice almost imperceptibly sad. “There are no more battles between good and evil, no monsters to slay, no maidens in need of rescue. Most maidens are perfectly capable of rescuing themselves in my experience, at least the ones worth something, in any case. There are no longer simple tales with quests and beasts and happy endings. The quests lack clarity of goal or path. The beasts take different forms and are difficult to recognize for what they are. And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister’s story is part of many other stories, and there is no telling where any of them may lead. Good and evil are a great deal more complex than a princess and a dragon, or a wolf and a scarlet-clad little girl. And is not the dragon the hero of his own story? Is not the wolf simply acting as a wolf should act? Though perhaps it is a singular wolf who goes to such lengths as to dress as a grandmother to toy with its prey.

People complain about the obscurity of poetry, especially if they're assigned to write about it, but actually poetry is rather straightforward compared to ordinary conversation with people you don't know well which tends to be jumpy repartee, crooked, coded, allusive to no effect, firmly repressed, locked up in irony, steadfastly refusing to share genuine experience--think of conversation at office parties or conversation between teenage children and parents, or between teenagers themselves, or between men, or between bitter spouces: rarely in ordinary conversation do people speak from the heart and mean what they say. How often in the past week did anyone offer you something from the heart? It's there in poetry. Forget everything you ever read about poetry, it doesn't matter--poetry is the last preserve of honest speech and the outspoken heart. All that I wrote about it as a grad student I hereby recant and abjure--all that matters about poetry to me is directness and clarity and truthfulness. All that is twittery and lit'ry: no thanks, pal. A person could perish of entertainment, especially comedy, so much of it casually nihilistic, hateful, glittering, cold, and in the end clueless. People in nusing homes die watching late-night television and if I were one of them, I'd be grateful when the darkness descends. Thank God if the pastor comes and offers a psalm and a prayer, and they can attain a glimmer of clarity at the end.

Leaders instill courage in the hearts of those who follow. This rarely happens through words alone. It generally requires action. It goes back to what we said earlier: Somebody has to go first. By going first, the leader furnishes confidence to those who follow. As a next generation leader, you will be called upon to go first. That will require courage. But in stepping out you will give the gift of courage to those who are watching. What do I believe is impossible to do in my field, but if it could be done would fundamentally change my business? What has been done is safe. But to attempt a solution to a problem that plagues an entire industry - in my case, the local church - requires courage. Unsolved problems are gateways to the future. To those who have the courage to ask the question and the tenacity to hang on until they discover or create an answer belongs the future. Don’t allow the many good opportunities to divert your attention from the one opportunity that has the greatest potential. Learn to say no. There will always be more opportunities than there is time to pursue them. Leaders worth following are willing to face and embrace current reality regardless of how discouraging or embarrassing it might be. It is impossible to generate sustained growth or progress if your plan for the future is not rooted in reality. Be willing to face the truth regardless of how painful it might be. If fear causes you to retreat from your dreams, you will never give the world anything new. it is impossible to lead without a dream. When leaders are no longer willing to dream, it is only a short time before followers are unwilling to follow. Will I allow my fear to bind me to mediocrity? Uncertainty is a permanent part of the leadership landscape. It never goes away. Where there is no uncertainty, there is no longer the need for leadership. The greater the uncertainty, the greater the need for leadership. Your capacity as a leader will be determined by how well you learn to deal with uncertainty. My enemy is not uncertainty. It is not even my responsibility to remove the uncertainty. It is my responsibility to bring clarity into the midst of the uncertainty. As leaders we can afford to be uncertain, but we cannot afford to be unclear. People will follow you in spite of a few bad decisions. People will not follow you if you are unclear in your instruction. As a leader you must develop the elusive skill of leading confidently and purposefully onto uncertain terrain. Next generation leaders must fear a lack of clarity more than a lack of accuracy. The individual in your organization who communicates the clearest vision will often be perceived as the leader. Clarity is perceived as leadership. Uncertainty exposes a lack of knowledge. Pretending exposes a lack of character. Express your uncertainty with confidence. You will never maximize your potential in any area without coaching. It is impossible. Self-evaluation is helpful, but evaluation from someone else is essential. You need a leadership coach. Great leaders are great learners. God, in His wisdom, has placed men and women around us with the experience and discernment we often lack. Experience alone doesn’t make you better at anything. Evaluated experience is what enables you to improve your performance. As a leader, what you don’t know can hurt you. What you don’t know about yourself can put a lid on your leadership. You owe it to yourself and to those who have chosen to follow you to open the doors to evaluation. Engage a coach. Success doesn’t make anything of consequence easier. Success just raises the stakes. Success brings with it the unanticipated pressure of maintaining success. The more successful you are as a leader, the more difficult this becomes. There is far more pressure at the top of an organization than you might imagine.

In 90% of cases, you can start with one of the two most effective ways to open a speech: ask a question or start with a story. Our brain doesn’t remember what we hear. It remembers only what we “see” or imagine while we listen. You can remember stories. Everything else is quickly forgotten. Smell is the most powerful sense out of 4 to immerse audience members into a scene. Every sentence either helps to drive your point home, or it detracts from clarity. There is no middle point. If you don’t have a foundational phrase in your speech, it means that your message is not clear enough to you, and if it’s not clear to you, there is no way it will be clear to your audience. Share your failures first. Show your audience members that you are not any better, smarter or more talented than they are. You are not an actor, you are a speaker. The main skill of an actor is to play a role; to be someone else. Your main skill as a speaker is to be yourself. People will forgive you for anything except for being boring. Speaking without passion is boring. If you are not excited about what you are talking about, how can you expect your audience to be excited? Never hide behind a lectern or a table. Your audience needs to see 100% of your body. Speak slowly and people will consider you to be a thoughtful and clever person. Leaders don’t talk much, but each word holds a lot of meaning and value. You always speak to only one person. Have a conversation directly with one person, look him or her in the eye. After you have logically completed one idea, which usually is 10-20 seconds, scan the audience and then stop your eyes on another person. Repeat this process again. Cover the entire room with eye contact. When you scan the audience and pick people for eye contact, pick positive people more often. When you pause, your audience thinks about your message and reflects. Pausing builds an audiences’ confidence. If you don’t pause, your audience doesn’t have time to digest what you've told them and hence, they will not remember a word of what you've said. Pause before and after you make an important point and stand still. During this pause, people think about your words and your message sinks in. After you make an important point and stand still. During this pause, people think about your words and your message sinks in. Speakers use filler words when they don’t know what to say, but they feel uncomfortable with silence. Have you ever seen a speaker who went on stage with a piece of paper and notes? Have you ever been one of these speakers? When people see you with paper in your hands, they instantly think, “This speaker is not sincere. He has a script and will talk according to the script.” The best speeches are not written, they are rewritten. Bad speakers create a 10 minutes speech and deliver it in 7 minutes. Great speakers create a 5 minute speech and deliver it in 7 minutes. Explain your ideas in a simple manner, so that the average 12-year-old child can understand the concept. Good speakers and experts can always explain the most complex ideas with very simple words. Stories evoke emotions. Factual information conveys logic. Emotions are far more important in a speech than logic. If you're considering whether to use statistics or a story, use a story. PowerPoint is for pictures not for words. Use as few words on the slide as possible. Never learn your speech word for word. Just rehearse it enough times to internalize the flow. If you watch a video of your speech, you can triple the pace of your development as a speaker. Make videos a habit. Meaningless words and clichés neither convey value nor information. Avoid them. Never apologize on stage. If people need to put in a lot of effort to understand you they simply won’t listen. On the other hand if you use very simple language you will connect with the audience and your speech will be remembered.

We go quiet as the next episode picks up exactly where it left off. Antoine manages to subdue Marie-Thérèse, and the two proceed to argue for ten minutes. Don’t ask me about what, because it’s in French, but I do notice that the same word—héritier—keeps popping up over and over again during their fight. “Okay, we need to look up that word,” I say in aggravation. “I think it’s important.” Allie grabs her cell phone and swipes her finger on the screen. I peek over her shoulder as she pulls up a translation app. “How do you think you spell it?” she asks. We get the spelling wrong three times before we finally land on a translation that makes sense: heir. “Oh!” she exclaims. “They’re talking about the father’s will.” “Shit, that’s totally it. She’s pissed off that Solange inherited all those shares of Beauté éternelle.” We high five at having figured it out, and in the moment our palms meet, pure clarity slices into me and I’m able to grasp precisely what my life has become. With a growl, I snatch the remote control and hit stop. “Hey, it’s not over yet,” she objects. “Allie.” I draw a steady breath. “We need to stop now. Before my balls disappear altogether and my man-card is revoked.” One blond eyebrow flicks up. “Who has the power to revoke it?” “I don’t know. The Man Council. The Stonemasons. Jason Statham. Take your pick.” “So you’re too much of a manly man to watch a French soap opera?” “Yes.” I chug the rest of my margarita, but the salty flavor is another reminder of how low I’ve sunk. “Jesus Christ. And I’m drinking margaritas. You’re bad for my rep, baby doll.” I shoot her a warning look. “Nobody can ever know about this.” “Ha. I’m going to post it all over the Internet. Guess what, folks—Dean Sebastian Kendrick Heyward-Di Laurentis is over at my place right now watching soaps and drinking girly drinks.” She sticks her tongue out at me. “You’ll never get laid again.” She’s right about that. “Can you at least add that the night ended with a blowjob?” I grumble. “Because then everyone will be like, oh, he suffered through all that so he could get his pole waxed.” “Your pole waxed? That’s such a gross description.” But her eyes are bright and she’s laughing as she says it.

There is a curious idea among unscientific men that in scientific writing there is a common plateau of perfectionism. Nothing could be more untrue. The reports of biologists are the measure, not of the science, but of the men themselves. There are as few scientific giants as any other kind. In some reports it is impossible, because of inept expression, to relate the descriptions to the living animals. In some papers collecting places are so mixed or ignored that the animals mentioned cannot be found at all. The same conditioning forces itself into specification as it does into any other kind of observation, and the same faults of carelessness will be found in scientific reports as in the witness chair of a criminal court. It has seemed sometimes that the little men in scientific work assumed the awe-fullness of a priesthood to hide their deficiencies, as the witch-doctor does with his stilts and high masks, as the priesthoods of all cults have, with secret or unfamiliar languages and symbols. It is usually found that only the little stuffy men object to what is called "popularization", by which they mean writing with a clarity understandable to one not familiar with the tricks and codes of the cult. We have not known a single great scientist who could not discourse freely and interestingly with a child. Can it be that the haters of clarity have nothing to say, have observed nothing, have no clear picture of even their own fields? A dull man seems to be a dull man no matter what his field, and of course it is the right of a dull scientist to protect himself with feathers and robes, emblems and degrees, as do other dull men who are potentates and grand imperial rulers of lodges of dull men.

There is a particular kind of pain, elation, loneliness, and terror involved in this kind of madness. When you're high it's tremendous. The ideas and feelings are fast and frequent like shooting stars, and you follow them until you find better and brighter ones. Shyness goes, the right words and gestures are suddenly there, the power to captivate others a felt certainty. There are interests found in uninteresting people. Sensuality is pervasive and the desire to seduce and be seduced irresistible. Feelings of ease, intensity, power, well-being, financial omnipotence, and euphoria pervade one's marrow. But, somewhere, this changes. The fast ideas are far too fast, and there are far too many; overwhelming confusion replaces clarity. Memory goes. Humor and absorption on friends' faces are replaced by fear and concern. Everything previously moving with the grain is now against--you are irritable, angry, frightened, uncontrollable, and enmeshed totally in the blackest caves of the mind. You never knew these caves were there. It will never end, for madness carves its own reality. It goes on and on, and finally there are only others' recollections of your behavior--your bizarre, frenetic, aimless behaviors--for mania has at least some grace in partially obliterating memories. What then, after the medications, psychiatrist, despair, depression, and overdose? All those incredible feelings to sort through. Who is being to polite to say what? Who knows what? What did I do? Why? And most hauntingly, when will it happen again? Then, too, are the bitter reminders--medicine to take, resent, forget, take, resent, and forget, but always take....And always, when will it happen again? Which of my feelings are real? Which of the me's is me?

I squeezed through a horde of gum-snapping girls I recognized as seniors from my school. “He did not say that!” “Yes, he did! And you wouldn’t believe what she said!” Please, someone tell me I wouldn’t be that annoying if I had girlfriends. “Sure, you will be.” I whipped around and nearly got a faceful of cotton candy. I moved the purple sugar cloud to the side and glared at my mother. She wore a white, short-sleeved blouse and a patchwork skirt. “You have to stop listening in on my thoughts without my permission, Mom. It’s not cool.” She shoved a piece of cotton candy in my mouth to shut me up. “I didn’t do it on purpose, Clarity. I was strolling along listening in to the crowd.” “Pick up anything interesting?” “Actually, I did. That detective’s son can’t stop checking out your legs. He loves this little pink dress you’ve got on. So much so that he’s actually mad at himself for it.” She shook her head. I blushed. “Did you happen to pick up anything important?” “Like a man walking along thinking, ‘I killed Victoria Happel’?” “Exactly.” “No such luck. But dear, people don’t wander around thinking about their biggest secrets all the time. The killer could be standing right next to me and all I might pick up from him is how he wants to buy some barbequed chicken.” “Have you seen Billy Rawlinson or Frankie Creedon?” I asked. Distaste turned her mouth down. “No. Why are you looking for those scoundrels?” “Billy might be a witness in the case. Or a suspect.” “I’ll keep my eyes out and my mind open.” “Thanks,” I said. “Enjoy invading everyone’s privacy.

That bitch.” Perry said. “Do you want me to go over there?” “No, I’ll take care of this.” I marched over and slammed my glass on the mahogany bar. Tiffany fake-smiled. “A psychic and a medium walk into a bar. The psychic says . . .” “Screw you.” She frowned. “That’s not how the joke goes, Clare.” “You know where you can shove your joke. Just get me a new drink and try not to include any of your STD-laced body fluid in it this time.” Tiffany dumped the soda out and began to repour. “I’d like a whole new glass.” She narrowed her eyes at me, then grunted as she reached for a new glass. “So how’s Justin?” she asked. I wanted to use an upended stool to pole vault over the bar and gouge her eyes out. Instead I took a deep breath and talked myself through it. Remain calm. Don’t sink to her level. You are a classy girl. She is a psychotic skankbag. You are the better of the two. Act like it. Okay, now I was calm. “I don’t know how Justin is and I don’t care.” “Really?” she said. “I thought you cared about him a lot.” Maybe she’s suicidal? That’s why she keeps inviting me to kill her? I fumbled with the coaster in front of me to keep my hands busy, since all they wanted to do at that moment was wrap themselves around her neck.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep black space high up among many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of the dots. At length, I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at the very moment with great emotion, in intricate detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which whole worlds of feeling and energy were wrapped, in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water…I saw may apples in forest, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided and apples grew striped and spotted in the fall. Mountains kept their cool caves, and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wilds ducks flew, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remembered the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “Yes, that’s how it was then, that part there we called ‘France’”. I was filled with the deep affection of nostalgia- and then I opened my eyes.

A woman named Cynthia once told me a story about the time her father had made plans to take her on a night out in San Francisco. Twelve-year-old Cynthia and her father had been planning the “date” for months. They had a whole itinerary planned down to the minute: she would attend the last hour of his presentation, and then meet him at the back of the room at about four-thirty and leave quickly before everyone tried to talk to him. They would catch a tram to Chinatown, eat Chinese food (their favourite), shop for a souvenir, see the sights for a while and then “catch a flick” as her dad liked to say. Then they would grab a taxi back to the hotel, jump in the pool for a quick swim (her dad was famous for sneaking in when the pool was closed), order a hot fudge sundae from room service, and watch the late, late show. They discussed the details over and over again before they left. The anticipation was part of the whole experience. This was all going according to plan until, as her father was leaving the convention centre, he ran into an old college friend and business associate. It had been years since they had seen each other, and Cynthia watched as they embraced enthusiastically. His friend said, in effect: “I am so glad you are doing some work with our company now. When Lois and I heard about it we thought it would be perfect. We want to invite you, and of course Cynthia, to get a spectacular seafood dinner down at the Wharf!” Cynthia’s father responded: “Bob, it’s so great to see you. Dinner at the wharf sounds great!” Cynthia was crestfallen. Her daydreams of tram rides and ice cream sundaes evaporated in an instant. Plus, she hated seafood and she could just imagine how bored she would be listening to the adults talk all night. But then her father continued: “But not tonight. Cynthia and I have a special date planned, don’t we?” He winked at Cynthia and grabbed her hand and they ran out of the door and continued with what was an unforgettable night in San Francisco. As it happens, Cynthia’s father was the management thinker Stephen R. Covey (author of The Seven Habits of Highly Effective People) who had passed away only weeks before Cynthia told me this story. So it was with deep emotion she recalled that evening in San Francisco. His simple decision “Bonded him to me forever because I knew what mattered most to him was me!” she said.5 One simple answer is we are unclear about what is essential. When this happens we become defenceless. On the other hand, when we have strong internal clarity it is almost as if we have a force field protecting us from the non-essentials coming at us from all directions. With Rosa it was her deep moral clarity that gave her unusual courage of conviction. With Stephen it was the clarity of his vision for the evening with his loving daughter. In virtually every instance, clarity about what is essential fuels us with the strength to say no to the non-essentials. Stephen R. Covey, one of the most respected and widely read business thinkers of his generation, was an Essentialist. Not only did he routinely teach Essentialist principles – like “The main thing is to keep the main thing the main thing” – to important leaders and heads of state around the world, he lived them.6 And in this moment of living them with his daughter he made a memory that literally outlasted his lifetime. Seen with some perspective, his decision seems obvious. But many in his shoes would have accepted the friend’s invitation for fear of seeming rude or ungrateful, or passing up a rare opportunity to dine with an old friend. So why is it so hard in the moment to dare to choose what is essential over what is non-essential?

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

But the greatest human problems are not social problems, but decisions that the individual has to make alone. The most important feelings of which man is capable emphasise his separateness from other people, not his kinship with them. The feelings of a mountaineer towards a mountain emphasise his kinship with the mountain rather than with the rest of mankind. The same goes for the leap of the heart experienced by a sailor when he smells the sea, or for the astronomer’s feeling about the stars, or for the archaeologist’s love of the past. My feeling of love for my fellowmen makes me aware of my humanness; but my feeling about a mountain gives me an oddly nonhuman sensation. It would be incorrect, perhaps, to call it ‘superhuman’; but it nevertheless gives me a sense of transcending my everyday humanity. Maslow’s importance is that he has placed these experiences of ‘transcendence’ at the centre of his psychology. He sees them as the compass by which man gains a sense of the magnetic north of his existence. They bring a glimpse of ‘the source of power, meaning and purpose’ inside himself. This can be seen with great clarity in the matter of the cure of alcoholics. Alcoholism arises from what I have called ‘generalised hypertension’, a feeling of strain or anxiety about practically everything. It might be described as a ‘passively negative’ attitude towards existence. The negativity prevents proper relaxation; there is a perpetual excess of adrenalin in the bloodstream. Alcohol may produce the necessary relaxation, switch off the anxiety, allow one to feel like a real human being instead of a bundle of over-tense nerves. Recurrence of the hypertension makes the alcoholic remedy a habit, but the disadvantages soon begin to outweigh the advantage: hangovers, headaches, fatigue, guilt, general inefficiency. And, above all, passivity. The alcoholics are given mescalin or LSD, and then peak experiences are induced by means of music or poetry or colours blending on a screen. They are suddenly gripped and shaken by a sense of meaning, of just how incredibly interesting life can be for the undefeated. They also become aware of the vicious circle involved in alcoholism: misery and passivity leading to a general running-down of the vital powers, and to the lower levels of perception that are the outcome of fatigue. ‘The spirit world shuts not its gates, Your heart is dead, your senses sleep,’ says the Earth Spirit to Faust. And the senses sleep when there is not enough energy to run them efficiently. On the other hand, when the level of will and determination is high, the senses wake up. (Maslow was not particularly literary, or he might have been amused to think that Faust is suffering from exactly the same problem as the girl in the chewing gum factory (described earlier), and that he had, incidentally, solved a problem that had troubled European culture for nearly two centuries). Peak experiences are a by-product of this higher energy-drive. The alcoholic drinks because he is seeking peak experiences; (the same, of course, goes for all addicts, whether of drugs or tobacco.) In fact, he is moving away from them, like a lost traveller walking away from the inn in which he hopes to spend the night. The moment he sees with clarity what he needs to do to regain the peak experience, he does an about-face and ceases to be an alcoholic.

The difficulties connected with my criterion of demarcation (D) are important, but must not be exaggerated. It is vague, since it is a methodological rule, and since the demarcation between science and nonscience is vague. But it is more than sharp enough to make a distinction between many physical theories on the one hand, and metaphysical theories, such as psychoanalysis, or Marxism (in its present form), on the other. This is, of course, one of my main theses; and nobody who has not understood it can be said to have understood my theory. The situation with Marxism is, incidentally, very different from that with psychoanalysis. Marxism was once a scientific theory: it predicted that capitalism would lead to increasing misery and, through a more or less mild revolution, to socialism; it predicted that this would happen first in the technically highest developed countries; and it predicted that the technical evolution of the 'means of production' would lead to social, political, and ideological developments, rather than the other way round. But the (so-called) socialist revolution came first in one of the technically backward countries. And instead of the means of production producing a new ideology, it was Lenin's and Stalin's ideology that Russia must push forward with its industrialization ('Socialism is dictatorship of the proletariat plus electrification') which promoted the new development of the means of production. Thus one might say that Marxism was once a science, but one which was refuted by some of the facts which happened to clash with its predictions (I have here mentioned just a few of these facts). However, Marxism is no longer a science; for it broke the methodological rule that we must accept falsification, and it immunized itself against the most blatant refutations of its predictions. Ever since then, it can be described only as nonscience—as a metaphysical dream, if you like, married to a cruel reality. Psychoanalysis is a very different case. It is an interesting psychological metaphysics (and no doubt there is some truth in it, as there is so often in metaphysical ideas), but it never was a science. There may be lots of people who are Freudian or Adlerian cases: Freud himself was clearly a Freudian case, and Adler an Adlerian case. But what prevents their theories from being scientific in the sense here described is, very simply, that they do not exclude any physically possible human behaviour. Whatever anybody may do is, in principle, explicable in Freudian or Adlerian terms. (Adler's break with Freud was more Adlerian than Freudian, but Freud never looked on it as a refutation of his theory.) The point is very clear. Neither Freud nor Adler excludes any particular person's acting in any particular way, whatever the outward circumstances. Whether a man sacrificed his life to rescue a drowning, child (a case of sublimation) or whether he murdered the child by drowning him (a case of repression) could not possibly be predicted or excluded by Freud's theory; the theory was compatible with everything that could happen—even without any special immunization treatment. Thus while Marxism became non-scientific by its adoption of an immunizing strategy, psychoanalysis was immune to start with, and remained so. In contrast, most physical theories are pretty free of immunizing tactics and highly falsifiable to start with. As a rule, they exclude an infinity of conceivable possibilities.

Finally, we arrive at the question of the so-called nonpolitical man. Hitler not only established his power from the very beginning with masses of people who were until then essentially nonpolitical; he also accomplished his last step to victory in March of 1933 in a "legal" manner, by mobilizing no less than five million nonvoters, that is to say, nonpolitical people. The Left parties had made every effort to win over the indifferent masses, without posing the question as to what it means "to be indifferent or nonpolitical." If an industrialist and large estate owner champions a rightist party, this is easily understood in terms of his immediate economic interests. In his case a leftist orientation would be at variance with his social situation and would, for that reason, point to irrational motives. If an industrial worker has a leftist orientation, this too is by all mean rationally consistent—it derives from his economic and social position in industry. If, however, a worker, an employee, or an official has a rightist orientation, this must be ascribed to a lack of political clarity, i.e., he is ignorant of his social position. The more a man who belongs to the broad working masses is nonpolitical, the more susceptible he is to the ideology of political reaction. To be nonpolitical is not, as one might suppose, evidence of a passive psychic condition, but of a highly active attitude, a defense against the awareness of social responsibility. The analysis of this defense against consciousness of one's social responsibility yields clear insights into a number of dark questions concerning the behavior of the broad nonpolitical strata. In the case of the average intellectual "who wants nothing to do with politics," it can easily be shown that immediate economic interests and fears related to his social position, which is dependent upon public opinion, lie at the basis of his noninvolvement. These fears cause him to make the most grotesque sacrifices with respect to his knowledge and convictions. Those people who are engaged in the production process in one way or another and are nonetheless socially irresponsible can be divided into two major groups. In the case of the one group the concept of politics is unconsciously associated with the idea of violence and physical danger, i.e., with an intense fear, which prevents them from facing life realistically. In the case of the other group, which undoubtedly constitutes the majority, social irresponsibility is based on personal conflicts and anxieties, of which the sexual anxiety is the predominant one. […] Until now the revolutionary movement has misunderstood this situation. It attempted to awaken the "nonpolitical" man by making him conscious solely of his unfulfilled economic interests. Experience teaches that the majority of these "nonpolitical" people can hardly be made to listen to anything about their socio-economic situation, whereas they are very accessible to the mystical claptrap of a National Socialist, despite the fact that the latter makes very little mention of economic interests. [This] is explained by the fact that severe sexual conflicts (in the broadest sense of the word), whether conscious or unconscious, inhibit rational thinking and the development of social responsibility. They make a person afraid and force him into a shell. If, now, such a self-encapsulated person meets a propagandist who works with faith and mysticism, meets, in other words, a fascist who works with sexual, libidinous methods, he turns his complete attention to him. This is not because the fascist program makes a greater impression on him than the liberal program, but because in his devotion to the führer and the führer's ideology, he experiences a momentary release from his unrelenting inner tension. Unconsciously, he is able to give his conflicts a different form and in this way to "solve" them.

There is a sort of subdued pandemonium in the air, a note of repressed violence, as if the awaited explosion required the advent of some utterly minute detail, something microscopic but thoroughly unpremeditated, completely unexpected. In that sort of half-reverie which permits one to participate in an event and yet remain quite aloof, the little detail which was lacking began obscurely but insistently to coagulate, to assume a freakish, crystalline form, like the frost which gathers on the windowpane. And like those frost patterns which seem so bizarre, so utterly free and fantastic in design, but which are nevertheless determined by the most rigid laws, so this sensation which commenced to take form inside me seemed also to be giving obedience to ineluctable laws. My whole being was responding to the dictates of an ambience which it had never before experienced; that which I could call myself seemed to be contracting, condensing, shrinking from the stale, customary boundaries of the flesh whose perimeter knew only the modulations of the nerve ends. And the more substantial, the more solid the core of me became, the more delicate and extravagant appeared the close, palpable reality out of which I was being squeezed. In the measure that I became more and more metallic, in the same measure the scene before my eyes became inflated. The state of tension was so finely drawn now that the introduction of a single foreign particle, even a microscopic particle, as I say, would have shattered everything. For the fraction of a second perhaps I experienced that utter clarity which the epileptic, it is said, is given to know. In that moment I lost completely the illusion of time and space: the world unfurled its drama simultaneously along a meridian which had no axis. In this sort of hair-trigger eternity I felt that everything was justified, supremely justified; I felt the wars inside me that had left behind this pulp and wrack; I felt the crimes that were seething here to emerge tomorrow in blatant screamers; I felt the misery that was grinding itself out with pestle and mortar, the long dull misery that dribbles away in dirty handkerchiefs. On the meridian of time there is no injustice: there is only the poetry of motion creating the illusion of truth and drama. If at any moment anywhere one comes face to face with the absolute, that great sympathy which makes men like Gautama and Jesus seem divine freezes away; the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured – disgrace, humiliation, poverty, war, crime, ennui – in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off. All the while someone is eating the bread of life and drinking the wine, some dirty fat cockroach of a priest who hides away in the cellar guzzling it, while up above in the light of the street a phantom host touches the lips and the blood is pale as water. And out of the endless torment and misery no miracle comes forth, no microscopic vestige of relief. Only ideas, pale, attenuated ideas which have to be fattened by slaughter; ideas which come forth like bile, like the guts of a pig when the carcass is ripped open.