Construction House Quotes

Her adept said: "I'll keep it off you. Nav, show them what the Ninth House does." Gideon lifted her sword. The construct worked itself free of its last confines of masonry and rotten wood and heaved before them, flexing itself like a butterfly. "We do bones, motherfucker," she said.

Inevitably we construct ourselves. Let me explain. I enter this house and immediately I become what I have to become, what I can become: I construct myself. That is, I present myself to you in a form suitable to the relationship I wish to achieve with you. And, of course, you do the same with me.

The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.

A house is never apolitical. It is conceived, constructed, occupied, and policed by people with power, needs, and fears.

And in a small house five miles away was a man who held my mud-encrusted charm bracelet out to his wife. Look what I found at the old industrial park," he said. "A construction guy said they were bulldozing the whole lot. They're afraid of sink holes like that one that swallowed the cars." His wife poured him some water from the sink as he fingered the tiny bike and the ballet shoe, the flower basket and the thimble. He held out the muddy bracelet as she set down his glass. This little girl's grown up by now," she said. Almost. Not quite. I wish you all a long and happy life.

Abby must have been the one who found the safe house, because Townsend didn't like it. "The building across the street is under construction," he snarled as soon as we'd carried our bags inside. "The elevator has key card access, and I've hacked into the surveillance cameras from every system on the block," Abby argued. "We have a three-hundred-sixty-degree visual." "Excellent." Townsend dropped his bag. "Now the circle can see us from every angle." "Don't mind Agent Townsend, girls," Abby told us. "He's a glass-half-empty kind of spy." "Also known as the good kind," he countered. Abby huffed.

No doubt Carter would describe the underground city in excruciating detail, with exact measurements of each room, boring history on every statue and hieroglyph, and background notes on the construction of the magical headquarters of the House of Life. I will spare you that pain. It's big. It's full of magic. It's underground. There. Sorted.

Every decent man of our age must be a coward and a slave. That is his normal condition. Of that I am firmly persuaded. He is made and constructed to that very end. And not only at the present time owing to some casual circumstance, but always, at all times, a decent man is bound to be a coward and a slave.

In the construction of houses, choice of woods is made. Straight un-knotted timber of good appearance is used for the revealed pillars, straight timber with small defects is used for the inner pillars. Timbers of the finest appearance, even if a little weak, is used for the thresholds, lintels, doors, and sliding doors, and so on. Good strong timber, though it be gnarled and knotted, can always be used discreetly in construction.

This is what I keep returning to: how people decide who is or is not an unreliable narrator. And after that decision has been made, what do we do with people who attempt to construct their own vision of justice?

Any fool can write a book and most of them are doing it; but it takes brains to build a house.

There isn't a story to tell, because a relationship is a story you construct together and take up residence in, a story as sheltering as a house. You invent this story of how your destinies were made to entwine like porch vines, you adjust to a big view in this direction and no view in that, the doorway that you have to duck through and the window that is jammed, how who you think you are becomes a factor of who you think he is and who he thinks you are, a castle in the clouds made out of the moist air exhaled by dreamers.

But men love abstract reasoning and neat systematization so much that they think nothing of distorting the truth, closing their eyes and ears to contrary evidence to preserve their logical constructions.

He'd discovered that he liked houses. Maybe mostly because they were understandable. They could be calculated and drawn on paper. They did not leak if they were made water tight, they did not collapse if they were properly supported. Houses were fair, they gave you what you deserved. Which, unfortunately, was more than one could say about people.

With characteristic exuberance Tom named this curiously constructed house Castel des Tours saunz Nowmbre, which means the Castle of Innumerable Towers. David Montefiore had counted the innumerable towers in 1764. There were fourteen of them.

This house, which seemed somehow to have formed itself, flying together into its own powerful pattern under the hands of its builders, fitting itself into its own construction of lines and angles, reared its great head back against the sky without concession to humanity. It was a house without kindness, never meant to be lived in, not a fit place for people or for love or for hope.

The mind can only construct a new model of a house from the bricks of a previous design.

May it not be that he loves chaos and destruction (there can be no disputing that he does sometimes love it) because he is instinctively afraid of attaining his object and completing the edifice he is constructing? Who knows, perhaps he only loves that edifice from a distance, and is by no means in love with it at close quarters; perhaps he only loves building it and does not want to live in it, but will leave it, when completed...

There is some of the same fitness in a man's building his own house that there is in a bird's building its own nest. Who knows but if men constructed their dwellings with their own hands, and provided food for themselves and families simply and honestly enough, the poetic faculty would be universally developed, as birds universally sing when they are so engaged? But alas! we do like cowbirds and cuckoos, which lay their eggs in nests which other birds have built, and cheer no traveller with their chattering and unmusical notes. Shall we forever resign the pleasure of construction to the carpenter?

My fear represented the failure of the human system. It is a sad truth of our creation: Something is amiss in our design, there are loose ends of our psychology that are simply not wrapped up. My fears were the dirty secrets of evolution. They were not provided for, and I was forced to construct elaborate temples to house them.

Her adept said: “I’ll keep it off you. Nav, show them what the Ninth House does.” Gideon lifted her sword. The construct worked itself free of its last confines of masonry and rotten wood and heaved before them, flexing itself like a butterfly. “We do bones, motherfucker,” she said.

You know how it is to want something. Desire builds like a little house in your head and it sits there, half-constructed in your mind. Women who want children are this way. Artists are this way about pictures. It doesn't go away. You may forget for a few months but then it's back, the unfinished pieces of what you want.

What is to be done with the millions of facts that bear witness that men, consciously, that is fully understanding their real interests, have left them in the background and have rushed headlong on another path, to meet peril and danger, compelled to this course by nobody and by nothing, but, as it were, simply disliking the beaten track, and have obstinately, wilfully, struck out another difficult, absurd way, seeking it almost in the darkness. So, I suppose, this obstinacy and perversity were pleasanter to them than any advantage... The fact is, gentlemen, it seems there must really exist something that is dearer to almost every man than his greatest advantages, or (not to be illogical) there is a most advantageous advantage (the very one omitted of which we spoke just now) which is more important and more advantageous than all other advantages, for the sake of which a man if necessary is ready to act in opposition to all laws; that is, in opposition to reason, honour, peace, prosperity -- in fact, in opposition to all those excellent and useful things if only he can attain that fundamental, most advantageous advantage which is dearer to him than all. "Yes, but it's advantage all the same," you will retort. But excuse me, I'll make the point clear, and it is not a case of playing upon words. What matters is, that this advantage is remarkable from the very fact that it breaks down all our classifications, and continually shatters every system constructed by lovers of mankind for the benefit of mankind. In fact, it upsets everything... One's own free unfettered choice, one's own caprice, however wild it may be, one's own fancy worked up at times to frenzy -- is that very "most advantageous advantage" which we have overlooked, which comes under no classification and against which all systems and theories are continually being shattered to atoms. And how do these wiseacres know that man wants a normal, a virtuous choice? What has made them conceive that man must want a rationally advantageous choice? What man wants is simply independent choice, whatever that independence may cost and wherever it may lead. And choice, of course, the devil only knows what choice. Of course, this very stupid thing, this caprice of ours, may be in reality, gentlemen, more advantageous for us than anything else on earth, especially in certain cases… for in any circumstances it preserves for us what is most precious and most important -- that is, our personality, our individuality. Some, you see, maintain that this really is the most precious thing for mankind; choice can, of course, if it chooses, be in agreement with reason… It is profitable and sometimes even praiseworthy. But very often, and even most often, choice is utterly and stubbornly opposed to reason ... and ... and ... do you know that that, too, is profitable, sometimes even praiseworthy? I believe in it, I answer for it, for the whole work of man really seems to consist in nothing but proving to himself every minute that he is a man and not a piano-key! …And this being so, can one help being tempted to rejoice that it has not yet come off, and that desire still depends on something we don't know? You will scream at me (that is, if you condescend to do so) that no one is touching my free will, that all they are concerned with is that my will should of itself, of its own free will, coincide with my own normal interests, with the laws of nature and arithmetic. Good heavens, gentlemen, what sort of free will is left when we come to tabulation and arithmetic, when it will all be a case of twice two make four? Twice two makes four without my will. As if free will meant that!

We all received invitations, made by hand from construction paper, with balloons containing our names in Magic Marker. Our amazement at being formally invited to a house we had only visited in our bathroom fantasies was so great that we had to compare one another's invitations before we believed it. It was thrilling to know that the Lisbon girls knew our names, that their delicate vocal cords had pronounced their syllables, and that they meant something in their lives. They had had to labor over proper spellings and to check our addresses in the phone book or by the metal numbers nailed to the trees.

Who are you? The personality you've constructed, and that other people have told you you are? Your name, your class, your religion? A sexuality or gender or nationality? This physical body is your house, you are the inhabitant, but the true you can only be the life force energy, the conscious awareness, the non-physical. When we focus on these lables and identify with a temporary experience, we don’t see our true selves. We see people as labels instead of infinite beings of potential. That then allows for dehumanizing each other.

Her life had been a house of cards, pieces stacked delicately on top of one another more by ease of construct than by a choice truly made, because weren’t things hard enough without her making them any harder?

A home is never finished, it’s only saved from decay.

The inside house of the soul is magnificent but fragile; any betrayals and lies embedded in its walls and foundation shift its construction in directions unimagined.

It was not until years afterward that I came upon Tolstoy’s phrase “the snare of preparation,” which he insists we spread before the feet of young people, hopelessly entangling them in a curious inactivity at the very period of life when they are longing to construct the world anew and to conform it to their own ideals.

...the ongoing suspicion that scientific discoveries or rigorous biblical scholarship will undermine faith is a tacit admission that faith is threatened by knowledge, because it is ultimately constructed on weak or faulty assumptions and, like the proverbial house of cards, needs to be "protected" from collapsing. (p. 21)

How strange it was to be inside a machine again! All his life he’d been inside machines, whether he realised it or not. Modern houses were machines. Shopping centres were machines. Schools. Cars. Trains. Cities. They were all sophisticated technological constructs, wired up with lights and motors. You switched them on, and didn’t spare them a thought while they pampered you with unnatural services.

She wants to have her notebooks so that the flimsy framework of events, as she has constructed them in her school notebook, will be provided with walls and become a house she can live in. Because if the tottering structure of her memories collapses like a clumsily pitched tent, all that Tamina will be left with is the present, that invisible point, that nothingness moving slowly toward death.

Such is the condition of organic nature! whose first law might be expressed in the words 'Eat or be eaten!' and which would seem to be one great slaughter-house, one universal scene of rapacity and injustice!

Oh, I’m sorry!” he said. “I just fell out of the sky. I constructed a helicopter in midair, burst into flames halfway down, crash-landed, and barely survived. But by all means—let’s talk about your dining table!

To speak of creativity is to speak of profound intimacy. It is also to speak of our connecting to the Divine in us and of our bringing the Divine back to the community. This is true whether we understand our creativity to be begetting and nourishing our children, making music, doing theater, gardening, writing, teaching, running a business, painting, constructing houses, or sharing the healing arts of medicine and therapy.

Rainer Maria Rilke greeted and wrestled with the angels of his Duino Elegies in the solitude of a castle surrounded by white cliffs tall trees and the sea. I greeted most of mine in the solitude of a house that still vibrated with the throbs of a singular life that had helped shape many lives and with the ache of attempts to render useful service to that life. The River of Winged Dreams was therefore constructed as a link between dimensions of past and future emotions and intellect and matter and spirit.

Will: What do I wanna way outta here for? I'm gonna live here the rest of my fuckin' life. We'll be neighbors, have little kids, take 'em to Little League up at Foley Field. Chuckie: Look, you're my best friend, so don't take this the wrong way but, in 20 years if you're still livin' here, comin' over to my house, watchin' the Patriots games, workin' construction, I'll fuckin' kill ya. That's not a threat, that's a fact, I'll fuckin' kill ya. Will: What the fuck you talkin' about? Chuckie: You got somethin' none of us have... Will: Oh, come on! What? Why is it always this? I mean, I fuckin' owe it to myself to do this or that. What if I don't want to? Chuckie: No. No, no no no. Fuck you, you don't owe it to yourself man, you owe it to me. Cuz tomorrow I'm gonna wake up and I'll be 50, and I'll still be doin' this shit. And that's all right. That's fine. I mean, you're sittin' on a winnin' lottery ticket. And you're too much of a pussy to cash it in, and that's bullshit. 'Cause I'd do fuckin' anything to have what you got. So would any of these fuckin' guys. It'd be an insult to us if you're still here in 20 years. Hangin' around here is a fuckin' waste of your time.

For us to deem a work of architecture elegant, it is hence not enough that it look simple: we must feel that the simplicity it displays has been hard won, that it flows from the resolution of demanding technical or natural predicament. Thus we call the Shaker staircase in Pleasant Hill elegant because we know--without ever having constructed one ourselves--that a staircase is a site complexity, and that combinations of treads, risers and banisters rarely approach the sober intelligibility of the Sharkers' work. We deem a modern Swiss house elegant because we not how seamlessly its windows have been joined to their concrete walls, and how neatly the usual clutter of construction has been resolved away. We admire starkly simple works that we intuit would, without immense effort, have appeared very complicated. (p 209)

Consider a white ninth-grade student taking American history in a predominantly middle-class town in Vermont. Her father tapes Sheetrock, earning an income that in slow construction seasons leaves the family quite poor. Her mother helps out by driving a school bus part-time, in addition to taking care of her two younger siblings. The girl lives with her family in a small house, a winterized former summer cabin, while most of her classmates live in large suburban homes. How is this girl to understand her poverty? Since history textbooks present the American past as four hundred years of progress and portray our society as a land of opportunity in which folks get what they deserve and deserve what they get, the failures of working-class Americans to transcend their class origin inevitably get laid at their own doorsteps.

A marriage was like a house under constant construction, each year seeing the completion of new rooms. A first-year marriage was a cottage; one that had gone on for twenty-seven years was a huge and rambling mansion. There were bound to be crannies and storage spaces, most of them dusty and abandoned, some containing a few unpleasant relics you would just as soon you hadn’t found. But that was no biggie. You either threw those relics out or took them to Goodwill.

I love you,” she said, speaking clearly so that there might be no confusion. “I love you utterly and completely. I love your elegant hands and the way you smile with only one side of your mouth — when you smile at all — and I love how grave your eyes are. I love that you let me invade your house with nearly my entire family and yours, and never even turned a hair. I love that you made love to me when I asked you, purely for politeness’ sake, and I love that you got mad at me later and made me make love to you. I love that you let Her Grace and her puppies construct a nest out of your shirts in your dressing room. I love that you’ve spent years selflessly saving people in St. Giles — although I want you to stop right now. I love that you killed a man for me, even if I’m still mad at you about it. I love that you saved my letters before we even knew each other well, and I love the curt, overly serious letters you wrote to me in return.” She looked at him very seriously. “I love you, Godric St. John, and now I’m breaking my word. I will not leave you. You may either come with me to Laurelwood or I’ll stay here with you in your musty old house in London and drive you mad with all my talking and relatives and… and exotic sexual positions until you break down and love me back, for I’m warning you that I’m not giving up until you love me and we’re a happy family with dozens of children.” She paused at that point because she’d run out of breath and looked at him. His face had gone still and for a moment her heart sank and she had to fortify herself for a battle. But then his mouth quirked like that and he said, “Exotic sexual positions?” And she knew even before he said anything else that it was all going to be fine—more than fine. It was going to be wonderful.

But the Greeks and the Romans both believed in the idea of an external daemon of creativity—a sort of house elf, if you will, who lived within the walls of your home and who sometimes aided you in your labors. The Romans had a specific term for that helpful house elf. They called it your genius—your guardian deity, the conduit of your inspiration. Which is to say, the Romans didn’t believe that an exceptionally gifted person was a genius; they believed that an exceptionally gifted person had a genius. It’s a subtle but important distinction (being vs. having) and, I think, it’s a wise psychological construct. The idea of an external genius helps to keep the artist’s ego in check, distancing him somewhat from the burden of taking either full credit or full blame for the outcome of his work. If your work is successful, in other words, you are obliged to thank your external genius for the help, thus holding you back from total narcissism. And if your work fails, it’s not entirely your fault. You can say, “Hey, don’t look at me—my genius didn’t show up today!” Either way, the vulnerable human ego is protected. Protected from the corrupting influence of praise. Protected from the corrosive effects of shame.

The problem with many Jesus freaks is that we claim to 'build our house on a rock,' but when a storm comes we have such confidence in the building that all our focus is on the house. As if surety comes from construction, not from the foundation.

For a while it was forever, and then things started to fall apart. There isn't a story to tell, because a relationship is a story you construct together and take up residence in, a story as sheltering as a house. You invent this story of how your destinies were made to entwine like porch vines, you adjust to a big view in this direction and no view in that, the doorway that you have to duck through and the window that is jammed, how who you think you are becomes a factor of who you think he is and who he thinks you are, a castle in the clouds made out of the moist air exhaled by dreamers. It's a shock to find yourself outdoors and alone again, hard to imagine that you could ever live in another house, big where this one was small, small where it was big, hard when your body has learned all the twists and turns of the staircase so that you could walk it in your sleep, hard when you have built it from scratch and called it home, hard to imagine building again. But you lit the fire that burned it down yourself.

Man loves to construct and lay down roads, no question about it. But why is he so passionately fond of destruction and chaos? [...] Isn't man so passionately fond of destruction and chaos (and there's no disputing that he's sometimes very fond of them, that really is the case) that he himself instinctively fears achieving his goal and completing the building in the course of erection? How do you know - perhaps he only likes the building from a distance and not at all at close quarters; perhaps he only likes building it and not living in it [...]

Yeah,” Nicole said, her straw noisily hitting the bottom of her Gut Buster. “Well, I would have appreciated it if you guys had wrecked a little less stuff. Because my house smelled like smoke for months. And construction on the Tarantinos’ new garage starts at eight on the dot every morning, and it’s still going on, and you know how I get if I don’t have my full ten hours of beauty sleep.” “So that’s what happened to your face,” Cody said. “I was wondering.

A brick is a good object to hide a house key under. No burglar will be able to get to your key, especially if you hide it under the first brick the mason’s lay when constructing your house. 


Why do we teach girls that their perspectives are inherently untrustworthy?" I would yell. I want to reclaim these words- after all, melodrama comes from melos, which means "music," "honey"; a drama queen is, nonetheless, a queen- but they are still hot to the touch. This is what I keep returning to: how people decide who is or is not an unreliable narrator. And after that decision has been made, what do we do with people who attempt to construct their own vision of justice?

As Brother Francis readily admitted, his mastery of pre-Deluge English was far from masterful yet. The way nouns could sometimes modify other nouns in that tongue had always been one of his weak points. In Latin, as in most simple dialects of the region, a construction like servus puer meant about the same thing as puer servus, and even in English slave boy meant boy slave. But there the similarity ended. He had finally learned that house cat did not mean cat house, and that a dative of purpose or possession, as in mihi amicus, was somehow conveyed by dog food or sentry box even without inflection. But what of a triple appositive like fallout survival shelter? Brother Francis shook his head. The Warning on Inner Hatch mentioned food, water, and air; and yet surely these were not necessities for the fiends of Hell. At times, the novice found pre-Deluge English more perplexing than either Intermediate Angelology or Saint Leslie's theological calculus.

She thought of the boy thrown into the cauldron of war, the girl beset by various bigotries, her life in danger, and saw how unjust it all was, her fury limitless for a few moments. And she felt a sense of shame, something akin to accusation from them towards her and her generation, for not having constructed a better world to welcome and contain their beauty, to house their spirit. —

A house is never apolitical. It is conceived, constructed, occupied, and policed by people with power, needs, and fears. Windex is political. Si is the incense you burn to hide the smell of sex, or a fight.

Jesus is calling the bluff of the religious. He says, why play this game? Why call me Lord as if you care who I am or what I want when you don't bother really knowing me or doing what I say? And then Jesus tells the story about the builders and their two houses. The homes they build represent their lives--their beliefs, convictions, aspirations, and choices. Jesus is telling us that there are stable and unstable foundations on which to construct our lives. Regardless of our intentions, it's possible to base our confidence and trust--the very footing of our lives--on what is insecure and faulty. On shifting sand.

When the birds were trilling and the leaves were swelling, an Indian came striding into Plymouth. Tall, almost naked, and very handsome, he raised his hand in friendship. “Welcome, Englishmen,” said Samoset, Massasoit’s ambassador. The Pilgrims murmured in astonishment. The “savage” spoke English. He was friendly and dignified. They greeted him warmly, but cautiously. Samoset departed and returned a week later with Massasoit and Squanto. For the next few days, in a house still under construction, Squanto interpreted while Governor Carver and Massasoit worded a peace treaty that would last more than fifty years. After the agreement, Massasoit went back to his home in Rhode Island, but Squanto stayed on at Plymouth. The wandering Pawtuxet had at last come home.

Though anger seems a pessimistic response to a situation, it is at root a symptom of hope: the hope that the world can be better than it is. The man who shouts every time he loses his house keys is betraying a beautiful but rash faith in a universe in which keys never go astray. The woman who grows furious every time a politician breaks an election promise reveals a precariously utopian belief that elections do not involve deceit. The news shouldn’t eliminate angry responses; but it should help us to be angry for the right reasons, to the right degree, for the right length of time – and as part of a constructive project. And whenever this isn’t possible, then the news should help us with mourning the twisted nature of man and reconciling us to the difficulty of being able to imagine perfection while still not managing to secure it – for a range of stupid but nevertheless unbudgeable reasons.

I don't know why we stopped reading together, but gradually we were not doing it regularly, and then without realizing it was happening we were reading different books, and gradually we came not to care about the book the other one was reading, because it was not the book we were reading, and we became bored and drifted off when the other one talked about his book. What we were doing, reading different books, was furnishing different rooms, constructing separate worlds almost, in which we could sit and be ourselves again. Of course those were rooms in which we each sat alone, and we gradually spent more and more time in them and less and less in the house we lived in together.

Imagine if all the car makers in the world were to sit down together to design one extremely simple, embellishment-free, functional car that was made from the most environmentally-sustainable materials, how cheap to buy and humanity-and-Earth-considerate that vehicle would be. And imagine all the money that would be saved by not having different car makers duplicating their efforts, competing and trying to out-sell each other, and overall how much time that would liberate for all those people involved in the car industry to help those less fortunate and suffering in the world. Likewise, imagine when each house is no longer designed to make an individualised, ego-reinforcing, status-symbol statement for its owners and all houses are constructed in a functionally satisfactory, simple way, how much energy, labour, time and expense will be freed up to care for the wellbeing of the less fortunate and the planet.

I am coming through the barriers you have erected in this mind. I am coming, though the way be ardous and strange. Nothing will stop me. As I travel, I admire the craftsmanship in the construction of this maze, admire the traps and pitfalls they have wrought. You have learned well, my servants. To force the child to construct these barriers insides its mind, in its effort to escape the physical world; to build an island of dream alone and untouched by the true Dreaming... This takes skill. My admiration does not lessen my anger. I am dream. I am coming.

During Clinton’s tenure, Washington slashed funding for public housing by $17 billion (a reduction of 61 percent) and boosted corrections by $19 billion (an increase of 171 percent), “effectively making the construction of prisons the nation’s main housing program for the urban poor.

There was a new simplicity to what I did, a door that had opened before me to worlds I had not imagined. From where I sat, if you watched carefully you could marvel at it, like the impossible birth of a cottonseed or the slow rise of a wooden house: the steady construction of a man, built brick by brick from the shadow of a boy.

Hell, there're already too many psychologists; too many everythings. Too many engineers, too many chemists, too many doctors, too many dentists, too many sociologists. There aren't enough people who can actually do anything, really know how to make this world work. When you thing about it; when you look at the way it really is; God, we've got - well, let's say, there's 100 percent. Half of these are under eighteen or over sixty-five; that is not working. This leaves the middle fifty percent. Half of these are women; most are so busy having babies or taking care of kids, they're totally occupied. Some of them work, too, so let's say we're down to 30 percent. Ten percent are doctors or lawyers or sociologists or psychologists or dentists or businessmen or artists or writers, or schoolteachers, or priests, ministers, rabbis; none of there are actually producing anything, they're only servicing people. So now we're down to 20 percent. At least 2 or 3 percent are living on trusts or clipping coupons or are just rich. That leaves 17 percent. Seven percent of these are unemployed, mostly on purpose! So in the end we've got 10 percent producing all the food, constructing the houses, building and repairing all the roads, developing electricity, working in the mines, building cars, collecting garbage; all the dirty work, all the real work. Everybody's just looking for some gimmick so they don't have to actually do anything. And the worst part is, the ones who do the work get paid the least.

It is worthy of note, however, that the exclusion of black voters from polling booths is not the only way in which black political power has been suppressed. Another dimension of disenfranchisement echoes not so much Jim Crow as slavery. Under the usual-residence rule, the Census Bureau counts imprisoned individuals as residents of the jurisdiction in which they are incarcerated. Because most new prison construction occurs in predominately white, rural areas, white communities benefit from inflated population totals at the expense of the urban, overwhelmingly minority communities from which the prisoners come.35 This has enormous consequences for the redistricting process. White rural communities that house prisons wind up with more people in state legislatures representing them, while poor communities of color lose representatives because it appears their population has declined. This policy is disturbingly reminiscent of the three-fifths clause in the original Constitution, which enhanced the political clout of slaveholding states by including 60 percent of slaves in the population base for calculating Congressional seats and electoral votes, even though they could not vote.

The Idiot. I have read it once, and find that I don't remember the events of the book very well--or even all the principal characters. But mostly the 'portrait of a truly beautiful person' that dostoevsky supposedly set out to write in that book. And I remember how Myshkin seemed so simple when I began the book, but by the end, I realized how I didn't understand him at all. the things he did. Maybe when I read it again it will be different. But the plot of these dostoevsky books can hold such twists and turns for the first-time reader-- I guess that's b/c he was writing most of these books as serials that had to have cliffhangers and such. But I make marks in my books, mostly at parts where I see the author's philosophical points standing in the most stark relief. My copy of Moby Dick is positively full of these marks. The Idiot, I find has a few... Part 3, Section 5. The sickly Ippolit is reading from his 'Explanation' or whatever its called. He says his convictions are not tied to him being condemned to death. It's important for him to describe, of happiness: "you may be sure that Columbus was happy not when he had discovered America, but when he was discovering it." That it's the process of life--not the end or accomplished goals in it--that matter. Well. Easier said than lived! Part 3, Section 6. more of Ippolit talking--about a christian mindset. He references Jesus's parable of The Word as seeds that grow in men, couched in a description of how people are interrelated over time; its a picture of a multiplicity. Later in this section, he relates looking at a painting of Christ being taken down from the cross, at Rogozhin's house. The painting produced in him an intricate metaphor of despair over death "in the form of a huge machine of the most modern construction which, dull and insensible, has aimlessly clutched, crushed, and swallowed up a great priceless Being, a Being worth all nature and its laws, worth the whole earth, which was created perhaps solely for the sake of the advent of this Being." The way Ippolit's ideas are configured, here, reminds me of the writings of Gilles Deleuze. And the phrasing just sort of remidns me of the way everyone feels--many people feel crushed by the incomprehensible machine, in life. Many people feel martyred in their very minor ways. And it makes me think of the concept that a narrative religion like Christianity uniquely allows for a kind of socialized or externalized, shared experience of subjectivity. Like, we all know the story of this man--and it feels like our own stories at the same time. Part 4, Section 7. Myshkin's excitement (leading to a seizure) among the Epanchin's dignitary guests when he talks about what the nobility needs to become ("servants in order to be leaders"). I'm drawn to things like this because it's affirming, I guess, for me: "it really is true that we're absurd, that we're shallow, have bad habits, that we're bored, that we don't know how to look at things, that we can't understand; we're all like that." And of course he finds a way to make that into a good thing. which, it's pointed out by scholars, is very important to Dostoevsky philosophy--don't deny the earthly passions and problems in yourself, but accept them and incorporate them into your whole person. Me, I'm still working on that one.

You go on to the third level, of course, and begin to write real fiction. Why shouldn’t you? Why should you fear? Carpenters don’t build monsters, after all; they build houses, stores, and banks. They build some of wood a plank at a time and some of brick a brick at a time. You will build a paragraph at a time, constructing these of your vocabulary and your knowledge of grammar and basic style. As long as you stay level-on-the-level and shave even every door, you can build whatever you like—whole mansions, if you have the energy.

Mr Honeyfoot and Mr Segundus, being magicians themselves, had not needed to be told that the library of Hurtfew Abbey was dearer to its possessor than all his other riches; and they were not surprized to discover that Mr Norrell had constructed a beautiful jewel box to house his heart's treasure. The bookcases which lined the walls of the room were built of English woods and resembled Gothic arches laden with carvings. There were carvings of leaves (dried and twisted leaves, as if the season the artist had intended to represent were autumn), carvings of intertwining roots and branches, carvings of berries and ivy – all wonderfully done. But the wonder of the bookcases was nothing to the wonder of the books.

Jusging by the sour glance she threw on me as she said this, I concluded that I represented those 'late changes' to which all the sorrows of the house were referred. I felt unhappy under the ill-will even of this odious old woman, being one of those unhappily constructed mortals who cannot be indifferent when they reasonably ought, and always yearn after kindness, even that of the worthless.

Today the man who has the courage to build himself a house constructs a meeting place for the people who will descend upon him on foot, by car, or by telephone. Employees of the gas, the electric, and the water- works will arrive; agents from life and fire insurance companies; building inspectors, collectors of radio tax; mortgage creditors and rent assessors who tax you for living in your own home.

I shall expect you and the Slytherins in the Great Hall in twenty minutes, also,” said Professor McGonagall. “If you wish to leave with your students, we shall not stop you. But if any of you attempt to sabotage our resistance or take up arms against us within this castle, then, Horace, we duel to kill.” “Minerva!” he said, aghast. “The time has come for Slytherin House to decide upon its loyalties,” interrupted Professor McGonagall. “Go and wake your students, Horace.” Harry did not stay to watch Slughorn splutter: He and Luna ran after Professor McGonagall, who had taken up a position in the middle of the corridor and raised her wand. “Piertotum--oh, for heaven’s sake, Filch, not now--” The aged caretaker had just come hobbling into view, shouting, “Students out of bed! Students in the corridors!” “They’re supposed to be, you blithering idiot!” shouted McGonagall. “Now go and do something constructive! Find Peeves!” “P-Peeves?” stammered Filch as though he had never heard the name before. “Yes, Peeves, you fool, Peeves! Haven’t you been complaining about him for a quarter of a century? Go and fetch him, at once!” Filch evidently thought Professor McGonagall had taken leave of her senses, but hobbled away, hunch-shouldered, muttering under his breath. “And now--Piertotum Locomotor!” cried Professor McGonagall. And all along the corridor the statues and suits of armor jumped down from their plinths, and from the echoing crashes from the floors above and below, Harry knew that their fellows throughout the castle had done the same. “Hogwarts is threatened!” shouted Professor McGonagall. “Man the boundaries, protect us, do your duty to our school!

This here is your inheritance, says the senior partner. Yes, he says, Ludwig, I know, and stows the plan for the bathing house (5.5m long, 3.8m wide, outer wall construction: wood, roof construction: thatch), stows both the plan and the mosquito in his briefcase. On a German shelf, this mosquito, pressed flat between large quantities of paper, will outlast time and times, and one day it might even be petrified, who knows.

When Americans complain about how long it takes to build a building or repair a road, authorities often reply that “Rome was not built in a day.” Someone clearly forgot to tell the Chinese. By 2005, the country was building the square-foot equivalent of today’s Rome every two weeks. 29 Between 2011 and 2013, China both produced and used more cement than the US did in the entire twentieth century. 30 In 2011, a Chinese firm built a 30-story skyscraper in just 15 days. Three years later, another construction firm built a 57-story skyscraper in 19 days. 31 Indeed, China built the equivalent of Europe’s entire housing stock in just 15 years.

Oh, I’m sorry!” he said. “I just fell out of the sky. I constructed a helicopter in midair, burst into flames halfway down, crash-landed and barely survived. But by all means – let’s talk about your dining table!” He snatched up a half-melted goblet. “Who puts a dining table on the beach where innocent demigods can crash into it? Who does that?” The girl clenched her fists. Leo was pretty sure she was going to march down the crater and punch him in the face. Instead she looked up at the sky. “REALLY?” she screamed at the empty blue. “You want to make my curse even worse? Zeus! Hephaestus! Hermes! Have you no shame?” “Uh …” Leo noticed that she’d just picked three gods to blame, and one of them was his dad. He figured that wasn’t a good sign. “I doubt they’re listening. You know, the whole split-personality thing—” “Show yourself!” the girl yelled at the sky, completely ignoring Leo. “It’s not bad enough I am exiled? It’s not bad enough you take away the few good heroes I’m allowed to meet? You think it’s funny to send me this—this charbroiled runt of a boy to ruin my tranquillity? This is NOT FUNNY! Take him back!” “Hey, Sunshine,” Leo said. “I’m right here, you know.” She growled like a cornered animal. “Do not call me Sunshine! Get out of that hole and come with me now so I can get you off my island!” “Well, since you asked so nicely …” Leo didn’t know what the crazy girl was so worked up about, but he didn’t really care. If she could help him leave this island, that was totally fine by him. He clutched his charred sphere and climbed out of the crater. When he reached the top, the girl was already marching down the shoreline. He jogged to catch up. She gestured in disgust at the burning wreckage. “This was a pristine beach! Look at it now.” “Yeah, my bad,” Leo muttered. “I should’ve crashed on one of the other islands. Oh, wait – there aren’t any!” She snarled and kept walking along the edge of the water.

and begin to write real fiction. Why shouldn’t you? Why should you fear? Carpenters don’t build monsters, after all; they build houses, stores, and banks. They build some of wood a plank at a time and some of brick a brick at a time. You will build a paragraph at a time, constructing these of your vocabulary and your knowledge of grammar and basic style. As long as you stay level-on-the-level and shave even every door, you can build whatever you like—whole mansions, if you have the energy.

Footnote 164: "I finally hooked up with Ashley. I went over to her place yesterday morning. Early. She lives in Venice. Her eyebrows look like flakes of sunlight. Her smile, I'm sure, burnt Rome to the ground. And for the life of me I didn't know who she was or where we met... We sat down and I wanted to talk. I wanted to ask her who she was, where we'd met, been before, but she just smiled and held my hand as we lay down on the hammock and started to swing above all those dead leaves... Before I left she told me our story: where we met - Texas - kissed, but never made love and this had confused and haunted her and she had needed it before she got married which was in four months to a man she loved who made a living manufacturing TNT exclusively for a highway construction firm up in Colorado where he frequently went on business trips and where one night, drunk, angry and disappointed he had invited a hooker back to his motel room and so on and who cared and what was I doing here anyway?... I was still hurting, abandoned, drank three glasses of bourbon and fumed on some weed, then came here, thinking of voices, real and imagined, of ghosts, my ghost, of her, at long last, in this idiotic footnote, when she gently pushed me out her door and I said quietly 'Ashley' causing her to stop pushing me and ask 'yes?' her eyes bright with something she saw that I could never see though what she saw was me, and me not caring now at least knowing the truth and telling her the truth: 'I've never been to Texas.'" - House of Leaves

There were no houses, no palace, no constructions of any sort; it was rather an immense sea, though the waters were invisible and the shore had disappeared. In this city, seated far from all things, sad last dream lost among the shadows, while the day faded and sobbing rose gently in the perspective of a strange horizon, Anne, like something which could not be represented, no longer a human being but simply a being, marvelously a being, among the mayflies and the falling suns, with the agonizing atoms, doomed species, wounded illnesses, ascended the course of waters where obscure origins floundered. She alas had no means of knowing where she arrived, but when the prolonged echoes of this enormous night were melting together into a dreary and vague unconsciousness, searching and wailing a wail which was like the tragic destruction of something nonliving, empty entities awoke and, like monsters constantly exchanging their absence of shape for other absences of shape and taming silence by terrible reminiscences of silence, they went out in a mysterious agony.

As soon as Germany invaded Russia in June 1941, I was picked up by the NKVD and put into prison. I was taken by train to the dread Lubianka Prison in Moscow for interrogation as a “Vatican spy.” I remained there all through the war years, undergoing periodic and often intense questioning by the NKVD. Then, after five years, I was sentenced to fifteen years at hard labor in the prison camps of Siberia. Along with thousands of others, I was put to work in labor brigades doing outdoor construction in the extreme arctic cold, or in coal and copper mines, ill clothed, ill fed, and poorly housed in the timber barracks surrounded by barbed wire and a “death zone.” Men died in those camps, especially those who gave up hope. But I trusted in God, never felt abandoned or without hope, and survived along with many others.

I worked in construction management and I don’t think construction workers are always honoured in the way they deserve. Barring natural disasters, a house or a 50-storey building is going to remain standing until it’s demolished, and that’s irrespective of the quality of craftsmanship. But the aesthetic qualities of good bricks will never be appreciated unless the workmanship is of the highest standard. Whether it’s writing, cooking or bricklaying, quality of workmanship will always be the determining factor as to whether or not the finished product turns out mediocre or really exceptional. The choice of brick - just like the choice of words or spices - may well have a large bearing on the aesthetics of a new build, be it a large housing estate or just an ordinary garden wall but put the trowel in the right hands and poor-quality bricks can be made to look much better than they really are.

I have to believe that if we didn't need to protect ourselves, we wouldn't be so prone to avoiding rest. When fear enters the story, something changes. In response to the risk and need around us, we have constructed systems around labor that leave even the hardest workers vulnerable, in deficit. Labor is no longer a gift. How could it be when one is withering from hunger? Labor instead becomes a means to an end, not an avenue for flourishing but a transaction for survival. This is a grim human development, for no one wants to spend their days merely surviving. And this transaction is nearly always incongruent with the amount of labor one does. You can work, as my gramma did in California, for a full month just to be able to finally move from the shelter into low-income housing. Meanwhile, the powerful convince us that there is not enough while their pocket spill out in the open. They distract us from this by dangling opportunity in the opposite direction. They appear as rescuers, demanding ceaseless labor from us but presenting it as a gift. We are expected to feel deeply lucky and even indebted to a society that allows us to work, even if that work cannot satisfy our most basic needs.

In all my years in the wild, I’ve never met Mother Nature or Mr. Photosynthesis. Humans tend to try to make sense of things and are always searching for scientific reasons to explain the world’s riddles. But if you do not believe in a Creator, your options are limited in trying to explain the functions of Earth, let alone the universe. Who built this place? Where did I come from? Where did you come from? As Hebrews 3:4 says, “For every house is built by someone, but God is the builder of everything.” The Hebrews writer was actually comparing Moses and Jesus, but he delivered principles that I have come to believe are fundamental to life’s questions. To me it would be silly to claim someone’s physical home might not have been built just because you didn’t see it being built. We know someone built our homes, neighborhoods, and skyscrapers because of their design, even though they may have been constructed before we were even born.

Looking back into childhood is like turning a telescope the wrong way around. Everything appears in miniature, but with a clarity it probably does not deserve; moreover it has become concentrated and stylized, taking shape in symbolism. Thus it is that I sometimes see my infant self as having been set down before a blank slate on which to construct a map or schema of the external world, and as hesitantly beginning to sketch it, with many false starts and much rubbing-out, the anatomy of my universe. Happiness and sorrow, love and friendship, hostility, a sense of guilt and more abstract concepts still, must all find a place somewhere, much as an architect lays out the plan of a house he is designing - hall, dining-room and bedrooms - but must not forget the bathroom. In a child’s map, too, some of the rooms are connected by a serving-hatch, while others are sealed off behind baize doors. How can the fragments possibly be combined to make sense? Yet this map or finished diagram, constructed in the course of ten or twelve years’ puzzling, refuses to be ignored, and for some time to come will make itself felt as bones through flesh, to emerge as the complex organism which adults think of as their philosophy of life. Presumably it has its origins in both heredity and enviorment. So with heredity I shall begin.

Only once did I make Shireen sit down with me for a formal interview. She talked about the need to rebuild what she called "the culture of resistance" that she remembered experiencing during the Second Intifada, but which had since evaporated, replaced by a dull consumerist individualism, by "this illusion that if I forget about Palestine, build a career, take a loan, buy a car, build a house, watch Arab Idol on TV, it's all be okay; that if they're not raiding *your* house, you're okay." In a culture constructed around a shared goal of liberation, she said, "my house is your house and your son is my son and if they kill me today they will kill you tomorrow." (103)

All great, simple images reveal a psychic state. The house, even more than the landscape, is a "psychic state," and even when reproduced as it appears from the outside, it bespeaks intimacy. Psychologists generally, and Francoise Minkowska in particular, together with those whom she has succeeded interesting in the subject, have studied the drawing of houses made by children, and even used them for testing. Indeed, the house-test has the advantage of welcoming spontaneity, for many children draw a house spontaneously while dreaming over their paper and pencil. To quote Anne Balif: "Asking a child to draw his house is asking him to reveal the deepest dream shelter he has found for his happiness. If he is happy, he will succeed in drawing a snug, protected house which is well built on deeply-rooted foundations." It will have the right shape, and nearly always there will be some indication of its inner strength. In certain drawings, quite obviously, to quote Mme. Balif, "it is warm indoors, and there is a fire burning, such a big fire, in fact, that it can be seen coming out of the chimney." When the house is happy, soft smoke rises in gay rings above the roof. If the child is unhappy, however, the house bears traces of his distress. In this connection, I recall that Francoise Minkowska organized an unusually moving exhibition of drawings by Polish and Jewish children who had suffered the cruelties of the German occupation during the last war. One child, who had been hidden in a closet every time there was an alert, continued to draw narrow, cold, closed houses long after those evil times were over. These are what Mme. Minkowska calls "motionless" houses, houses that have become motionless in their rigidity. "This rigidity and motionlessness are present in the smoke as well as in the window curtains. The surrounding trees are quite straight and give the impression of standing guard over the house". Mme. Minkowska knows that a live house is not really "motionless," that, particularly, it integrates the movements by means of which one accedes to the door. Thus the path that leads to the house is often a climbing one. At times, even, it is inviting. In any case, it always possesses certain kinesthetic features. If we were making a Rorschach test, we should say that the house has "K." Often a simple detail suffices for Mme. Minkowska, a distinguished psychologist, to recognize the way the house functions. In one house, drawn by an eight-year-old child, she notes that there is " a knob on the door; people go in the house, they live there." It is not merely a constructed house, it is also a house that is "lived-in." Quite obviously the door-knob has a functional significance. This is the kinesthetic sign, so frequently forgotten in the drawings of "tense" children. Naturally, too, the door-knob could hardly be drawn in scale with the house, its function taking precedence over any question of size. For it expresses the function of opening, and only a logical mind could object that it is used to close as well as to open the door. In the domain of values, on the other hand, a key closes more often than it opens, whereas the door-knob opens more often than it closes. And the gesture of closing is always sharper, firmer, and briefer than that of opening. It is by weighing such fine points as these that, like Francoise Minkowska, one becomes a psychologist of houses.

Back in grade school, my shrinks tried to channel my viciousness into a constructive outlet, so I cut things with scissors. Heavy, cheap fabrics Diane bought by the bolt. I sliced through them with old metal shears going up and down: hateyouhateyouhateyou. The soft growl of the fabrics as I sliced it apart, and that perfect last moment, when your thumb is getting sore and your shoulders hurt from hunching and cut, cut, cut... free, the fabric now swaying in two pieces in your hands, a curtain parted. And then what? That's how I felt now, like I'd been sawing away at something and come to the end and here I was by myself again, in my small house with no job, no family, and I was holding two ends of fabric and didn't know what to do next.

Romantic literature often presents the individual as somebody caught in a struggle against the state and the market. Nothing could be further from the truth. The state and the market are the mother and father of the individual, and the individual can survive only thanks to them. The market provides us with work, insurance and a pension. If we want to study a profession, the government’s schools are there to teach us. If we want to open a business, the bank loans us money. If we want to build a house, a construction company builds it and the bank gives us a mortgage, in some cases subsidised or insured by the state. If violence flares up, the police protect us. If we are sick for a few days, our health insurance takes care of us. If we are debilitated for months, national social services steps in.

Old English poetry is characterised by a number of poetic tropes which enable a writer to describe things indirectly and which require a reader imaginatively to construct their meaning. The most widespread of these figurative descriptions are what are known as kennings. Kennings often occur in compounds: for example, hronrad (whale-road) or swanrad (swan- road) meaning 'the sea'; banhus (bone-house) meaning the 'human body'. Some kennings involve borrowing or inventing words; others appear to be chosen to meet the alliterative requirement of a poetic line, and as a result some kennings are difficult to decode, leading to disputes in critical interpretation. But kennings do allow more abstract concepts to be communicated by using more familiar words: for example, God is often described as moncynnes weard ('guardian of mankind').

Romantic literature often presents the individual as somebody caught in a struggle against the state and the market. Nothing could be further from the truth. The state and the market are the mother and father of the individual, and the individual can survive only thanks to them. The market provides us with work, insurance and a pension. If we want to study a profession, the government’s schools are there to teach us. If we want to open a business, the bank loans us money. If we want to build a house, a construction company builds it and the bank gives us a mortgage, in some cases subsidised or insured by the state. If violence flares up, the police protect us. If we are sick for a few days, our health insurance takes care of us. If we are debilitated for months, social security steps in. If we need around-the-clock assistance, we can go to the market and hire a nurse – usually some stranger from the other side of the world who takes care of us with the kind of devotion that we no longer expect from our own children. If we have the means, we can spend our golden years at a senior citizens’ home. The tax authorities treat us as individuals, and do not expect us to pay the neighbours’ taxes. The courts, too, see us as individuals, and never punish us for the crimes of our cousins. Not only adult men, but also women and children, are recognised as individuals. Throughout most of history, women were often seen as the property of family or community. Modern states, on the other hand, see women as individuals, enjoying economic and legal rights independently of their family and community. They may hold their own bank accounts, decide whom to marry, and even choose to divorce or live on their own. But the liberation of the individual comes at a cost. Many of us now bewail the loss of strong families and communities and feel alienated and threatened by the power the impersonal state and market wield over our lives. States and markets composed of alienated individuals can intervene in the lives of their members much more easily than states and markets composed of strong families and communities. When neighbours in a high-rise apartment building cannot even agree on how much to pay their janitor, how can we expect them to resist the state? The deal between states, markets and individuals is an uneasy one. The state and the market disagree about their mutual rights and obligations, and individuals complain that both demand too much and provide too little. In many cases individuals are exploited by markets, and states employ their armies, police forces and bureaucracies to persecute individuals instead of defending them. Yet it is amazing that this deal works at all – however imperfectly. For it breaches countless generations of human social arrangements. Millions of years of evolution have designed us to live and think as community members. Within a mere two centuries we have become alienated individuals. Nothing testifies better to the awesome power of culture.

Motivation, inspiration were not the problem; on the contrary I was always cheerful and workmanlike at the typewriter and had never suffered from what’s called writer’s block; I didn’t believe in it. The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.

Begin with the end in mind” is based on the principle that all things are created twice. There’s a mental or first creation, and a physical or second creation, to all things. Take the construction of a home, for example. You create it in every detail before you ever hammer the first nail into place. You try to get a very clear sense of what kind of house you want. If you want a family-centered home, you plan to put a family room where it would be a natural gathering place. You plan sliding doors and a patio for children to play outside. You work with ideas. You work with your mind until you get a clear image of what you want to build. Then you reduce it to blueprint and develop construction plans. All of this is done before the earth is touched. If not, then in the second creation, the physical creation, you will have to make expensive changes that may double the cost of your home.

I was starting to remember the whole problem now: I hate these fucking people [people at Tea Party rallies, ed]. It's never been just political, it's personal. I'm not convinced anyone in this country except the kinds of weenies who thought student council was important really cares about large versus small government or strict constructionalism versus judicial activism. The ostensible issues are just code words in an ugly snarl of class resentment, anti-intellectualism, old-school snobbery, racism, and who knows what else - grudges left over from the Civil War, the sixties, gym class. The Tea Party likes to cite a poll showing that their members are wealthier and better educated than te general populace, but to me they mostly looked like the same people I'd had to listen to in countless dive bars railing against "edjumicated idiots" and explaining exactly how Nostradamus predicted 9/11, the very people I and everyone I know fled our hometowns to get away from. So far all my interactions at the rally were only reinforcing my private theory - I suppose you might call it a prejudice - that liberals are the ones who went to college, moved to the nearest city where no one would call them a fag, and now only go back for holidays; conservatives are the ones who married their high school girlfriends, bought houses in their hometowns, and kept going to church and giving a shit who won the homecoming game. It's the divide between the Got Out and the Stayed Put. This theory also account for the different reactions of these two camps when the opposition party takes power, raising the specter of either fascist or socialist tyranny: the Got Outs always fantasize about fleeing the country for someplace more civilized - Canada, France, New Zealand; the Stayed Put just di further in, hunkering down in compounds, buying up canned goods and ammo.

There is a misconception held by many Egyptian professionals, especially engineers, that informal housing is haphazardly constructed and liable to collapse. However, such precarious housing is almost unknown in informal areas. Since informal housing is overwhelmingly owner-built without use of formal contractors, it is in the owner’s own best interest to ensure that care is taken in construction. In fact, one of the main features of informal housing construction is its high structural quality, reflecting the substantial financial resources and tremendous efforts that owners devote to these buildings. It is worth noting that in the 1992 earthquake in Cairo, practically all building collapses and the resulting fatalities occurred not in informal areas, but either in dilapidated historic parts of the city or informal areas…where apartment blocks had been constructed by (sometimes) unscrupulous developers and contractors.

Ideologically mindfulness serves very well the neoliberal-capitalist’s construction of reality which softly dictates that one must deny the roots of personal and social issues. We are manipulated into the self-repair mode, but what is actually broken is the system. Therein, the problem we face is our own selves and not a world based on oppressive values which leave us feeling oppressed and powerless. You must be meditation 24/7 for the rest of your life to deny that meditation alone won’t house the homeless, will not end contemporary social and physical apartheid. It will not provide free health care to all in the community and it will end social exclusion. Said that, yes, you might feel that you are feeling less anxious, but only because you are being ‘drugged’ and you are being denied your full humanity. We need to feel more, sympathise more and act moved by our love for humanity – those who are outside of ourselves. Here’s something that you will not find in a self-help book that might help you: the problem is the oppressive system and not you. It is the system that violates us by imposing since birth to us that there is one way to be and feel human. And it involves heavily looking good, competing against others and to compete against your own self – the system says that we must be functional machines to fulfil the system’s need. Our body is controlled and our minds, our being controlled via instruments of normalisation such as self-help books and mindfulness meditation.

He walked steadily, feeling them behind him. His stride did not falter; he pretended they weren’t there. He pretended that all was well—that those hideous things knew nothing about what he had done earlier in the night. But each pumpkin he passed nearly leapt off its porch or railing or wooden chair, expanded and morphed and throbbed as if in a funhouse mirror, and joined the procession behind him. The wind picked up, suddenly and fiercely, and construction paper decorations adorning the houses that surrounded him flapped helplessly against their doors and windows. The man ducked against the cold wind, and from the pursuing army of the jack-o’-lanterns behind him. Cardboard skeletons with fastener joints and witches with shredded yarn hair and ghosts with cotton ball sheets and black crayon eyes escaped their thumbtacks and scotch tape and newspaper twine and they flashed and danced in his face. He brushed at them desperately with his hands, attempting to tear a hole through them and escape.

Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference." Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out. Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head. For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up the guitar, and for some reason that's when things go wrong.

Who knows but if men constructed their dwellings with their own hands, and provided food for themselves and families simply and honestly enough, the poetic faculty would be universally developed, as birds universally sing when they are so engaged? But alas! we do like cowbirds and cuckoos, which lay their eggs in nests which other birds have built, and cheer no traveller with their chattering and unmusical notes. Shall we forever resign the pleasure of construction to the carpenter? What does architecture amount to in the experience of the mass of men? I never in all my walks came across a man engaged in so simple and natural an occupation as building his house. We belong to the community. It is not the tailor alone who is the ninth part of a man; it is as much the preacher, and the merchant, and the farmer. Where is this division of labor to end? and what object does it finally serve? No doubt another may also think for me; but it is not therefore desirable that he should do so to the exclusion of my thinking for myself.

The idea that everyone should have a house of his own is based on an ancient custom of the Japanese race, Shinto superstition ordaining that every dwelling should be evacuated on the death of its chief occupant. Perhaps there may have been some unrealized sanitary reason for this practice. Another early custom was that a newly built house should be provided for each couple that married. It is on account of such customs that we find the Imperial capitals so frequently removed from one site to another in ancient days. The rebuilding, every twenty years, of Ise Temple, the supreme shrine of the Sun-Goddess, is an example of one of these ancient rites which still obtain at the present day. The observance of these customs was only possible with some form of construction as that furnished by our system of wooden architecture, easily pulled down, easily built up. A more lasting style, employing brick and stone, would have rendered migrations impracticable, as indeed they became when the more stable and massive wooden construction of China was adopted by us after the Nara period.

Read. You should read Bukowski and Ferlinghetti, read Sylvia Plath and Anne Sexton, and listen to Coltrane, Nina Simone, Hank Williams, Loretta Lynn, Son House, Robert Johnson, Howlin’ Wolf, Lightnin’ Hopkins, Miles Davis, Lou Reed, Nick Drake, Bobbie Gentry, George Jones, Jimmy Reed, Odetta, Funkadelic, and Woody Guthrie. Drive across America. Ride trains. Fly to countries beyond your comfort zone. Try different things. Join hands across the water. Different foods. New tasks. Different menus and tastes. Talk with the guy who’s working in construction on your block, who’s working on the highway you’re traveling on. Speak with your neighbors. Get to know them. Practice civil disobedience. Try new resistance. Be part of the solution, not the problem. Don’t litter the earth, it’s the only one you have, learn to love her. Care for her. Learn another language. Trust your friends with kindness. You will need them one day. You will need earth one day. Do not fear death. There are worse things than death. Do not fear the reaper. Lie in the sunshine but from time to time let the neon light your way. ZZ Top, Jefferson Airplane, Spirit. Get a haircut. Dye your hair pink or blue. Do it for you. Wear eyeliner. Your eyes are the windows to your soul. Show them off. Wear a feather in your cap. Run around like the Mad Hatter. Perhaps he had the answer. Visit the desert. Go to the zoo. Go to a county fair. Ride the Ferris wheel. Ride a horse. Pet a pig. Ride a donkey. Protest against war. Put a peace symbol on your automobile. Drive a Volkswagen. Slow down for skateboarders. They might have the answers. Eat gingerbread men. Pray to the moon and the stars. God is out there somewhere. Don’t worry. You’ll find out where soon enough. Dance. Even if you don’t know how to dance. Read The Four Agreements. Read the Bible. Read the Bhagavad Gita. Join nothing. It won’t help. No games, no church, no religion, no yellow-brick road, no way to Oz. Wear beads. Watch a caterpillar in the sun.

Our house was made of stone, stucco, and clapboard; the newer wings, designed by a big-city architect, had a good deal of glass, and looked out into the Valley, where on good days we could see for many miles while on humid hazy days we could see barely beyond the fence that marked the edge of our property. Father, however, preferred the roof: In his white, light-woolen three-piece suit, white fedora cocked back on his head, for luck, he spent many of his waking hours on the highest peak of the highest roof of the house, observing, through binoculars, the amazing progress of construction in the Valley - for overnight, it seemed, there appeared roads, expressways, sewers, drainage pipes, "planned" communities with such names as Whispering Glades, Murmuring Oaks, Pheasant Run, Deer Willow, all of them walled to keep out intruders, and, yet more astonishing, towerlike buildings of aluminum and glass and steel and brick, buildings whose windows shone and winked like mirrors, splendid in sunshine like pillars of flame; such beauty where once there had been mere earth and sky, it caught at your throat like a great bird's talons, taking your breath away. 'The ways of beauty are as a honeycomb,' Father told us, and none of us could determine, staring at his slow moving lips, whether the truth he spoke was a happy truth or not, whether even it was truth. ("Family")

At Dniepropetrovsk the Stalin regime had made great efforts in construction. We were at first impressed as we approached the suburbs of the city, where we saw outlined the large masonry blocks of the proletarian housing erected by the Soviets. Their lines were modern. The buildings were huge, and there were many of them. Undeniably, the Communist system had done something for the people. If the misery of the peasants was great, at least the worker seemed to have benefited from the new times. Still, it was necessary to visit and examine the buildings. We lived for six months in the Donets coal basin. We had plenty of time to test the conclusions that we had reached at the time of our entrance into Dniepropetrovsk. The buildings, so impressive from a distance, were just a gigantic hoax, intended to fool sightseers shepherded by Intourist [Soviet tourism agency] and the viewers of documentary films. Approaching those housing blocks you were sickened by the stench of mud and excrement that rose from the quagmires surrounding each of the buildings. Around them were neither sidewalks nor gravel nor paving stones. The Russian mud was everywhere, and everywhere the walls peeled and crumbled. The quality of the construction materials was of the lowest order. All the balconies had come loose, and already the cement stairways were worn and grooved, although the buildings were only a few years old.

The extermination of the Jews has sometimes been seen as a kind of industrialized, assembly-line kind of mass murder, and this picture has at least some element of truth to it. No other genocide in history has been carried out by mechanical means - gassing - in specially constructed facilities like those in operation at Auschwitz or Treblinka. At the same time, however, these facilities did not operate efficiently or effectively, and if the impression given by calling them industrialized is that they were automated or impersonal, then it is a false one. Men such as Hess and Stangl and their subordinates tried to insulate themselves from the human dimensions of what they were doing by referring to their victims as 'cargo' or 'items.' Talking to Gerhard Stabenow, the head of the SS Security Service in Warsaw, in September 1942, Wilm Hosenfeld noted how the language Stabenow used distanced himself from the fact that what he was involved in was the mass murder of human beings: 'He speaks of the Jews as ants or other vermin, of their 'resettlement', that means their mass murder, as he would of the extermination of the bedbugs in the disinfestation of a house.' But at the same time such men were not immune from the human emotions they tried so hard to repress, and they remembered incidents in which individual women and children had appealed to their conscience, even if such appeals were in vain. The psychological strain that continual killing of unarmed civilians, including women and children, imposed on such men was considerable, just as it had been in the case of the SS Task Forces, whose troops had been shooting Jews in their hundreds of thousands before the first gas vans were deploted in an attempt not only to speed up the killing but also to make it somehow more impersonal.

In other words, money isn’t a material reality – it is a psychological construct. It works by converting matter into mind. But why does it succeed? Why should anyone be willing to exchange a fertile rice paddy for a handful of useless cowry shells? Why are you willing to flip hamburgers, sell health insurance or babysit three obnoxious brats when all you get for your exertions is a few pieces of coloured paper? People are willing to do such things when they trust the figments of their collective imagination. Trust is the raw material from which all types of money are minted. When a wealthy farmer sold his possessions for a sack of cowry shells and travelled with them to another province, he trusted that upon reaching his destination other people would be willing to sell him rice, houses and fields in exchange for the shells. Money is accordingly a system of mutual trust, and not just any system of mutual trust: money is the most universal and most efficient system of mutual trust ever devised. What created this trust was a very complex and long-term network of political, social and economic relations. Why do I believe in the cowry shell or gold coin or dollar bill? Because my neighbours believe in them. And my neighbours believe in them because I believe in them. And we all believe in them because our king believes in them and demands them in taxes, and because our priest believes in them and demands them in tithes. Take a dollar bill and look at it carefully. You will see that it is simply a colourful piece of paper with the signature of the US secretary of the treasury on one side, and the slogan ‘In God We Trust’ on the other. We accept the dollar in payment, because we trust in God and the US secretary of the treasury. The crucial role of trust explains why our financial systems are so tightly bound up with our political, social and ideological systems, why financial crises are often triggered by political developments, and why the stock market can rise or fall depending on the way traders feel on a particular morning.

Pioneered in Iraq, for-profit relief and reconstruction has already become the new global paradigm, regardless of whether the original destruction occurred from a preemptive war, such as Israel’s 2006 attack on Lebanon, or a hurricane. With resource scarcity and climate change providing a steadily increasing flow of new disasters, responding to emergencies is simply too hot an emerging market to be left to the nonprofits—why should UNICEF rebuild schools when it can be done by Bechtel, one of the largest engineering firms in the U.S.? Why put displaced people from Mississippi in subsidized empty apartments when they can be housed on Carnival cruise ships? Why deploy UN peacekeepers to Darfur when private security companies like Blackwater are looking for new clients? And that is the post-September 11 difference: before, wars and disasters provided opportunities for a narrow sector of the economy—the makers of fighter jets, for instance, or the construction companies that rebuilt bombed-out bridges. The primary economic role of wars, however, was as a means to open new markets that had been sealed off and to generate postwar peacetime booms. Now wars and disaster responses are so fully privatized that they are themselves the new market; there is no need to wait until after the war for the boom—the medium is the message. One distinct advantage of this postmodern approach is that in market terms, it cannot fail. As a market analyst remarked of a particularly good quarter for the earnings of the energy services company Halliburton, “Iraq was better than expected.”31 That was in October 2006, then the most violent month of the war on record, with 3,709 Iraqi civilian casualties.32 Still, few shareholders could fail to be impressed by a war that had generated $20 billion in revenues for this one company.33 Amid the weapons trade, the private soldiers, for-profit reconstruction and the homeland security industry, what has emerged as a result of the Bush administration’s particular brand of post-September 11 shock therapy is a fully articulated new economy. It was built in the Bush era, but it now exists quite apart from any one administration and will remain entrenched until the corporate supremacist ideology that underpins it is identified, isolated and challenged.

Build houses and make yourselves at home. You are not camping. This is your home; make yourself at home. This may not be your favorite place, but it is a place. Dig foundations; construct a habitation; develop the best environment for living that you can. If all you do is sit around and pine for the time you get back to Jerusalem, your present lives will be squalid and empty. Your life right now is every bit as valuable as it was when you were in Jerusalem, and every bit as valuable as it will be when you get back to Jerusalem. Babylonian exile is not your choice, but it is what you are given. Build a Babylonian house and live in it as well as you are able. Put in gardens and eat what grows in the country. Enter into the rhythm of the seasons. Become a productive part of the economy of the place. You are not parasites. Don’t expect others to do it for you. Get your hands into the Babylonian soil. Become knowledgeable about the Babylonian irrigation system. Acquire skill in cultivating fruits and vegetables in this soil and climate. Get some Babylonian recipes and cook them. Marry and have children. These people among whom you are living are not beneath you, nor are they above you; they are your equals with whom you can engage in the most intimate and responsible of relationships. You cannot be the person God wants you to be if you keep yourself aloof from others. That which you have in common is far more significant than what separates you. They are God’s persons: your task as a person of faith is to develop trust and conversation, love and understanding. Make yourselves at home there and work for the country’s welfare. Pray for Babylon’s well-being. If things go well for Babylon, things will go well for you. Welfare: shalom. Shalom means wholeness, the dynamic, vibrating health of a society that pulses with divinely directed purpose and surges with life-transforming love. Seek the shalom and pray for it. Throw yourselves into the place in which you find yourselves, but not on its terms, on God’s terms. Pray. Search for that center in which God’s will is being worked out (which is what we do when we pray) and work from that center. Jeremiah’s letter is a rebuke and a challenge: “Quit sitting around feeling sorry for yourselves. The aim of the person of faith is not to be as comfortable as possible but to live as deeply and thoroughly as possible—to deal with the reality of life, discover truth, create beauty, act out love. You didn’t do it when you were in Jerusalem. Why don’t you try doing it here, in Babylon? Don’t listen to the lying prophets who make an irresponsible living by selling you false hopes. You are in Babylon for a long time. You better make the best of it. Don’t just get along, waiting for some miraculous intervention. Build houses, plant gardens, marry husbands, marry wives, have children, pray for the wholeness of Babylon, and do everything you can to develop that wholeness. The only place you have to be human is where you are right now. The only opportunity you will ever have to live by faith is in the circumstances you are provided this very day: this house you live in, this family you find yourself in, this job you have been given, the weather conditions that prevail at this moment.