Constructive Living Quotes

I'd rather learn from one bird how to sing than teach ten thousand stars how not to dance

Part of the problem with the word 'disabilities' is that it immediately suggests an inability to see or hear or walk or do other things that many of us take for granted. But what of people who can't feel? Or talk about their feelings? Or manage their feelings in constructive ways? What of people who aren't able to form close and strong relationships? And people who cannot find fulfillment in their lives, or those who have lost hope, who live in disappointment and bitterness and find in life no joy, no love? These, it seems to me, are the real disabilities.

Failure is constructive feedback that tells you to try a different approach to accomplish what you want.

Land of the Dead? Is that what you dream about?” she asks. “Boy who kills ghosts for a living?” “No. I dream about penguins doing bridge construction. Don’t ask why.

Learning how to think" really means learning how to exercise some control over how and what you think. It means being conscious and aware enough to choose what you pay attention to and to choose how you construct meaning from experience. Because if you cannot or will not exercise this kind of choice in adult life, you will be totally hosed.

Anger is just anger. It isn't good. It isn't bad. It just is. What you do with it is what matters. It's like anything else. You can use it to build or to destroy. You just have to make the choice." Constructive anger," the demon said, her voice dripping sarcasm. Also known as passion," I said quietly. "Passion has overthrown tyrants and freed prisoners and slaves. Passion has brought justice where there was savagery. Passion has created freedom where there was nothing but fear. Passion has helped souls rise from the ashes of their horrible lives and build something better, stronger, more beautiful.

Eight of the ten commandments are about what thou shalt not. But you can live a whole life not doing any of that stuff and still avoid doing any good. That’s the whole crisis. The rot at the root of everything. The belief that goodness is built on a constructed absence, not-doing. That belief corrupts everything, has everyone with any power sitting on their hands.

These letters are all I have left. 26 friends to tell my stories to. 26 letters are all I need. I can stitch them together to create oceans and ecosystems. I can fit them together to form planets and solar systems. I can use letters to construct skyscrapers and metropolitan cities populated by people, places, things, and ideas that are more real to me than these 4 walls. I need nothing but letters to live. Without them I would not exist. Because these words I write down are the only proof I have that I’m still alive.

The brain is locked in total darkness, of course, children, says the voice. It floats in a clear liquid inside the skull, never in the light. And yet the world it constructs in the mind is full of light. It brims with color and movement. So how, children, does the brain, which lives without a spark of light, build for us a world full of light?

Instead of reality being passively recorded by the brain, it is actively constructed by it.

Not only is there often a right and wrong, but what goes around does come around, Karma exists, chickens do come home to roost, and as my mother, Phyllis, liked to say, “There is always a day of reckoning.” The good among the great understand that every choice we make adds to the strength or weakness of our spirits—ourselves, or to use an old fashioned word for the same idea, our souls. That is every human’s life work: to construct an identity bit by bit, to walk a path step by step, to live a life that is worthy of something higher, lighter, more fulfilling, and maybe even everlasting.

If we create our own values, we agree to a dynamic process of transformation, knowing that our identity is a construction and that we must constantly reinvent ourselves. ("Living on probation" )

All things, including us, are fleeting and ever-changing. Our life journey is an ongoing process of exploration and transformation. Therefore, life's meaning must be constructed in the face of death's absurdity. ("Living on probation" )

We are sometimes astounded by the behavior of emotional outlaws, as they act in line with their own standards, but proceed like bulls-in-a-china-shop, create one heck of a mess in their living environment and bring about shocking disturbing dissensions, ever since their inner construction clashes with our emotional architecture. (“Disruption”)

Since many are confronted with an eerie void, lacking essential qualities in their daily repertoire and suffering from missing out on a second or third dimension in their lives, they feel disjointed and disgruntled, unconsciously struggling to find out a kind of strategy to “construct” or to "reconstruct" their living. (“Bread and Satellite”)

You don’t need to control emotion,” he said. “Emotions are natural, like passing weather. Sometimes it’s fear, sometimes sorrow or anger. Emotions are not the problem. The key is to transform the energy of emotion into constructive action.

Men have constructed female sexuality and in so doing have annihilated the chance for sexual intelligence in women. Sexual intelligence cannot live in the shallow, predestined sexuality men have counterfeiteed for women.

If we expect to identify ourselves in a second other but don’t recognize ourselves in our choice, living can turn into bitterness because the wheel of time has set another compass. When we understand that the chosen one is merely a fabrication of our imagination, the ivory tower of our expectations patently crumbles down. Only by revisiting and resetting our emotional construction do we ingrain its substance and viability. ( "Alpha and Omega")

We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable.

Truth cannot be constructed. To live in ideology is, as Havel so eloquently reminds us, inevitably to live in a lie. Truth can only be revealed. We cannot be creators, only receptors.

…I have never understood the concept of infatuation. It has always been my understanding that being ‘infatuated’ with someone means you think you are in love, but you’re actually not; infatuation is (supposedly) just a foolish, fleeting feeling. But if being ‘in love’ is an abstract notion, and it’s not tangible, and there is no way to physically prove it to anyone else… well, how is being in love any different than having an infatuation? They’re both human constructions. If you think you’re in love with someone and you feel like you’re in love with someone, then you obviously are; thinking and feeling is the sum total of what love is. Why do we feel an obligation to certify emotions with some kind of retrospective, self-imposed authenticity?

Where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one’s own taking pleasure in a feeling or a look or a gesture, of receiving another person’s love or kindness. Nothing was affirmative, the term “generosity of spirit” applied to nothing, was a cliche, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire- meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface, was all that anyone found meaning in…this was civilization as I saw it, colossal and jagged…

healthy, adj. There are times when I'm alone that I think, This is it. This is actually the natural state. All I need are my thoughts and my small acts of creation and my ability to go or do whatever I want to go or do. I am myself, and that is the point. Pairing is a social construction. It is by no means necessary for everyone to do it. Maybe I'm better like this. Maybe I could live my life in my own world, and then simply leave it when it's time to go.

Have you ever thought about why GOD did it? Why tempt such fragile beings in the first place? Did GOD give the race of man free will, knowing that they would use that will to defy him, or to take it a step further since GOD knows all, did he know that Adam and Eve would eat the forbidden fruit, allowing him to cast them out of paradise to toil and suffer for a living.

Learning how to think' really means learning how to exercise some control over how & what you think. It means being conscious & aware enough to choose what you pay attention to & to choose how you construct meaning from experience.

Truth has been relegated to subjectivity; beauty has been subjugated to the beholder; and as millions are idiotized night after night, a global commune has been constructed with the arts enjoying a totalitarian rule.

All my life, I [Pari] have lived like an aquarium fish in the safety of a glass tank, behind a barrier as impenetrable as it has been transparent. I have been free to observe the glimmering world on the other side, to picture myself in it, if I like. But I have always been contained, hemmed in, by the hard, unyielding confines of the existence that Baba has constructed for me, at first knowingly, when I was young, and now guilelessly, now that he is fading day by day. I think I have grown accustomed to the glass and am terrified that when it breaks, when I am alone, I will spill out into the wide open unknown and flop around, helpless, lost, gasping for breath.

People are made of stories. Our memories are not the impartial accumulation of every second we’ve lived; they’re the narrative that we assembled out of selected moments. Which is why, even when we’ve experienced the same events as other individuals, we never constructed identical narratives: the criteria used for selecting moments were different for each of us, and a reflection of our personalities. Each of us noticed the details that caught our attention and remembered what was important to us, and the narratives we built shaped our personalities in turn. But, I wondered, if everyone remembered everything, would our differences get shaved away? What would happen to our sense of self? It seemed to me that a perfect memory couldn’t be a narrative any more than unedited security-cam footage could be a feature film. ·

A spark is exactly what it means. An igniting of something that spreads, and soon it becomes difficult to contain. The sparks, in this case, represent sin, not just any sin, a major undertaking of evil that spreads and infects life, changing the way humans live forever." " The Everlasting protects man for six of these catastrophes, but once there is a seventh, well… anything goes." "I’m not destroying man; I’m saving man--from themselves.

Those who love their dream of a Christian community more than they love the Christian community itself become destroyers of that Christian community even though their personal intentions may be ever so honest, earnest and sacrificial. God hates this wishful dreaming because it makes the dreamer proud and pretentious. Those who dream of this idolized community demand that it be fulfilled by God, by others and by themselves. They enter the community of Christians with their demands set up by their own law, and judge one another and God accordingly. It is not we who build. Christ builds the church. Whoever is mindful to build the church is surely well on the way to destroying it, for he will build a temple to idols without wishing or knowing it. We must confess he builds. We must proclaim, he builds. We must pray to him, and he will build. We do not know his plan. We cannot see whether he is building or pulling down. It may be that the times which by human standards are the times of collapse are for him the great times of construction. It may be that the times which from a human point are great times for the church are times when it's pulled down. It is a great comfort which Jesus gives to his church. You confess, preach, bear witness to me, and I alone will build where it pleases me. Do not meddle in what is not your providence. Do what is given to you, and do it well, and you will have done enough.... Live together in the forgiveness of your sins. Forgive each other every day from the bottom of your hearts.

It is almost as if you were frantically constructing another world while the world that you live in dissolves beneath your feet, and that your survival depends on completing this construction at least one second before the old habitation collapses.

It was a perfectly normal gerbil. It appeared to be living in an exciting construction of cylinders, spheres and treadmills, such as the Spanish Inquisition would have devised if they'd had access to a plastics molding press.

One day Dostoevsky threw out the enigmatic remark: "Beauty will save the world". What sort of a statement is that? For a long time I considered it mere words. How could that be possible? When in bloodthirsty history did beauty ever save anyone from anything? Ennobled, uplifted, yes - but whom has it saved? There is, however, a certain peculiarity in the essence of beauty, a peculiarity in the status of art: namely, the convincingness of a true work of art is completely irrefutable and it forces even an opposing heart to surrender. It is possible to compose an outwardly smooth and elegant political speech, a headstrong article, a social program, or a philosophical system on the basis of both a mistake and a lie. What is hidden, what distorted, will not immediately become obvious. Then a contradictory speech, article, program, a differently constructed philosophy rallies in opposition - and all just as elegant and smooth, and once again it works. Which is why such things are both trusted and mistrusted. In vain to reiterate what does not reach the heart. But a work of art bears within itself its own verification: conceptions which are devised or stretched do not stand being portrayed in images, they all come crashing down, appear sickly and pale, convince no one. But those works of art which have scooped up the truth and presented it to us as a living force - they take hold of us, compel us, and nobody ever, not even in ages to come, will appear to refute them. So perhaps that ancient trinity of Truth, Goodness and Beauty is not simply an empty, faded formula as we thought in the days of our self-confident, materialistic youth? If the tops of these three trees converge, as the scholars maintained, but the too blatant, too direct stems of Truth and Goodness are crushed, cut down, not allowed through - then perhaps the fantastic, unpredictable, unexpected stems of Beauty will push through and soar to that very same place, and in so doing will fulfil the work of all three? In that case Dostoevsky's remark, "Beauty will save the world", was not a careless phrase but a prophecy? After all he was granted to see much, a man of fantastic illumination. And in that case art, literature might really be able to help the world today?

There is always the easy way out, although I am loath to use it. I have no children, I do not watch television and I do not believe in God- all paths taken by mortals to make their lives easier. Children help us to defer the painful task of confronting ourselves, and grandchildren take over from them. Television distracts us from the onerous necessity of finding projects to construct in the vacuity of our frivolous lives; by beguiling our eyes, television releases our mind from the great work of making meaning. Finally, God appeases our animal fears and the unbearable prospect that someday all our pleasures will cease. Thus, as I have neither future nor progeny nor pixels to deaden the cosmic awareness of absurdity, and in the certainty of the end and the anticipation of the void, I believe I can affirm that I have not chosen the easy path.

In a sense, he thought, all we consist of is memories. Our personalities are constructed from memories, our lives are organized around memories, our cultures are built upon the foundation of shared memories that we call history and science.

People never think, until it happens to their place, that all construction is destruction. The whole planet is paved in the dead, who are ignored so the living can dig their foundations.

It's creepy, but here we are, the Pilgrims, the crackpots of our time, trying to establish our own alternate reality. To build a world out of rocks and chaos. What it's going to be, I don't know. Even after all that rushing around, where we've ended up is the middle of nowhere in the middle of the night. And maybe knowing isn't the point. Where we're standing right now, in the ruins in the dark, what we build could be anything.

The idea is that if you practice the Naikan part of Constructive Living, life becomes a series of small miracles, and you may start to notice everything that goes right in a typical life and not the few things that go wrong.

No story has a beginning, and no story has an end. Beginnings and endings may be conceived to serve a purpose, to serve a momentary and transient intent, but they are, in their fundamental nature, arbitrary and exist solely as a convenient construct in the minds of man. Lives are messy, and when we set out to relate them, or parts of them, we cannot ever discern precise and objective moments when any given event began. All beginnings are arbitrary.

If his first impression weren’t ninety percent pre-constructed by the entrance, he would think that it was a nice, comfortable place to live in.

Any human act that gives rise to something new is referred to as a creative act, regardless of whether what is created is a physical object or some mental or emotional construct that lives within the person who created it and is known only to him.

Among those who have everything, I have never seen a family go to the seashore just to celebrate a political decision, because for them politics changes almost nothing. This is something I realized when I went to live in Paris, far away from you: the ruling class may complain about a left-wing government, they may complain about a right-wing government, but no government ever ruins their digestion, no government ever breaks their backs, no government ever inspires a trip to the beach. Politics never changes their lives, at least not much. What’s strange, too, is that they’re the ones who engage in politics, though it has almost no effect on their lives. For the ruling class, in general, politics is a question of aesthetics: a way of seeing themselves, of seeing the world, of constructing a personality. For us it was life or death.

I wish this was a love story. A love story about lovers whose mouths meet like two puzzle pieces fitting perfectly into place, about the electric feeling of one person's name on the other's tongue because no one has ever spoken them out loud like that before. About people who spend the night together looking at the stars until entire constellations exist within them. Everyone is perfect in that indistinct way most characters are and every perfectly constructed scene in their fictional lives is somehow more real than anything you've known or lived. Love stories, romances, leave a person secure in the knowledge they'll end Happily Ever After and who wouldn't want a story like that? I wish this was a love story because I know how it goes in one like mine, where the only moments of reprieve are the spaces between its lines.

In art, in history man fights his fears, he wants to live forever, he is afraid of death, he wants to work with other men, he wants to live forever. He is like a child afraid of death. The child is afraid of death, of darkness, of solitude. Such simple fears behind all the elaborate constructions. Such simple fears as hunger for light, warmth, love. Such simple fears behind the elaborate constructions of art. Examine them all gently and quietly through the eyes of a boy. There is always a human being lonely, a human being afraid, a human being lost, a human being confused. Concealing and disguising his dependence, his needs, ashamed to say: I am a simple human being in a too vast and complex world. Because of all we have discovered about a leaf...it is still a leaf. Can we relate to a leaf, on a tree, in a park, a simple leaf: green, glistening, sun-bathed or wet, or turning white because the storm is coming. Like the savage, let us look at the leaf wet or shining with sun, or white with fear of the storm, or silvery in the fog, or listless in too great heat, or falling in autumn, dying, reborn each year anew. Learn from the leaf: simplicity. In spite of all we know about the leaf: its nerve structure phyllome cellular papilla parenchyma stomata venation. Keep a human relation -- leaf, man, woman, child. In tenderness. No matter how immense the world, how elaborate, how contradictory, there is always man, woman, child, and the leaf. Humanity makes everything warm and simple. Humanity...

I remembered once, in Japan, having been to see the Gold Pavilion Temple in Kyoto and being mildly surprised at quite how well it had weathered the passage of time since it was first built in the fourteenth century. I was told it hadn’t weathered well at all, and had in fact been burnt to the ground twice in this century. “So it isn’t the original building?” I had asked my Japanese guide. “But yes, of course it is,” he insisted, rather surprised at my question. “But it’s burnt down?” “Yes.” “Twice.” “Many times.” “And rebuilt.” “Of course. It is an important and historic building.” “With completely new materials.” “But of course. It was burnt down.” “So how can it be the same building?” “It is always the same building.” I had to admit to myself that this was in fact a perfectly rational point of view, it merely started from an unexpected premise. The idea of the building, the intention of it, its design, are all immutable and are the essence of the building. The intention of the original builders is what survives. The wood of which the design is constructed decays and is replaced when necessary. To be overly concerned with the original materials, which are merely sentimental souvenirs of the past, is to fail to see the living building itself.

I try to construct a theory of how a moral person should live in these circumstances, and how such a person should love.

Two people who have loved each for long enough eventually seem to stop touching each other consciously, it becomes something instinctive; when they meet between the hall and kitchen, their bodies somehow find each other. When they walk through a door, her hand ends up in his as if by accident. Tiny collisions, every day, all the time. Impossible to construct. So when they disappear, no one knows why, but suddenly two people are living parallel lives instead of together.

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.

Love—real love—isn’t something you construct or hope or imagine or plan for the future. Love is something you live and feel in real time, in every single moment, big or small. It’s reciprocal and often unglamorous. But we bank on it because it’s what gives life meaning.

The mature human being goes about doing what needs to be done regardless of whether that person feels great or terrible.

They don't make morgues with windows. In fact, if the geography allows for it, they hardly ever make morgues above the ground. I guess it's partly because it must be eisier to refrigerate a bunch of coffin-sized chambers in a room insulated by the earth. But that can't be all there is to it. Under the earth means a lot more than relative altitude. It's where dead things fit. Graves are under the earth. So are Hell, Gehenna, Hades, and a dozen other reported afterlives. Maybe it says somthing about people. Maybe for us, under the earth is a subtle and profound statement. Maybe ground level provides us with a kind of symbolic boundary marker, an artificial construct that helps us remember that we are alive. Mabye it helps us push death's shadow back from our lives. I live in a basement apartment and like it. What does that say about me? Probably that I overanalyze things.

As for the Pyramids, there is nothing to wonder at in them so much as the fact that so many men could be found degraded enough to spend their lives constructing a tomb for some ambitious booby, whom it would have been wiser and manlier to have drowned in the Nile, and then given his body to the dogs.

One of the most important steps in therapy is helping people take responsibility for their current predicaments, because once they realize that they can (and must) construct their own lives, they’re free to generate change.

In the 1930s, with no computers to precisely calculate tolerances of construction materials, cautious engineers simply heaped on excess mass and redundancy. “We’re living off the overcapacity of our forefathers.

It is difficult for anyone born and raised in human infrastructure to truly internalize the fact that your view of the world is backward. Even if you fully know that you live in a natural world that existed before you and will continue long after, even if you know that the wilderness is the default state of things, and that nature is not something that only happens in carefully curated enclaves between towns, something that pops up in empty spaces if you ignore them for a while, even if you spend your whole life believing yourself to be deeply in touch with the ebb and flow, the cycle, the ecosystem as it actually is, you will still have trouble picturing an untouched world. You will still struggle to understand that human constructs are carved out and overlaid, that these are the places that are the in-between, not the other way around.

Destruction is essential to construction. If we want to build the new, we must be willing to let the old burn. [...] The building of the true and beautiful means the destruction of the good enough.

Realizing that inequality is socially constructed empowers us to be agents of change.

His headstone said FREE AT LAST, FREE AT LAST But death is a slave's freedom We seek the freedom of free men And the construction of a world Where Martin Luther King could have lived and preached non-violence

We construct walls when we are hurt to safeguard our hearts and prevent any future wounds. We become selective, denying entry to all we fear will hurt us. We filter out anyone we think owes us something. We withhold access until these people have paid their debts in full. We open our lives only to those we believe are on our side.

Always remember that the people are not fighting for ideas, nor for what is in men’s minds. The people fight and accept the sacrifices demanded by the struggle in order to gain material advantages, to live better and in peace, to benefit from progress, and for the better future of their children. National liberation, the struggle against colonialism, the construction of peace, progress and independence are hollow words devoid of any significance unless they can be translated into a real improvement of living conditions.

We can no longer rely on the external teachings of Buddha, Confucius, or Christ. The era of organized religion controlling every aspect of life is over. No single religion has all the answers. Construction of shrine and temple buildings is not enough. Establish yourself as a living buddha image. We all should be transformed into goddesses of compassion or victorious buddhas.

I have lost years that I will never get back. Only now am I just beginning to live, on the verge of old age. It is painful and unfair. But today I have a different attitude to life: it can't be constructed from superficial things, no matter how attractive they may appear. Neither wealth not appearances have any importance now. Pain gave me new life. It took a long time for me to die as Malika, General Oufkir's eldest daughter, the child of a powerful figure, of a past. I've gained an identity. My own identity. And that is priceless. If there had not been all that waste, all that horror...I'd almost venture to say that my suffering made me grow. In any case, it changed me. for the better. It's as well to make the best of things.

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...

It is strange, but living is constructing memories. Right now, here in front of the sea, I know that I am creating small memories that someday will bring me melancholy and despair.

As more people have found the courage to break through shame and speak about woundedness in their lives, we are now subjected to a mean-spirited cultural response, where all talk of woundedness is mocked. The belittling of anyone's attempt to name a context within which they were wounded, were made a victim, is a form of shaming. It is psychological terrorism. Shaming breaks our hearts. All individuals who are genuinely seeking well-being within a healing context realize that it is important to that process not to make being a victim a stance of pride or a location from which to simply blame others. We need to speak our shame and our pain courageously in order to recover. Addressing woundedness is not about blaming others; however, it does allow individuals who have been, and are, hurt to insist on accountability and responsibility both from themselves and from those who were the agents of their suffering as well as those who bore witness. Constructive confrontation aids our healing.

A woman in her thirties came to see me. As she greeted me, I could sense the pain behind her polite and superficial smile. She started telling me her story, and within one second her smile changed into a grimace of pain. Then, she began to sob uncontrollably. She said she felt lonely and unfulfilled. There was much anger and sadness. As a child she had been abused by a physically violent father. I saw quickly that her pain was not caused by her present life circumstances but by an extraordinarily heavy pain-body. Her pain-body had become the filter through which she viewed her life situation. She was not yet able to see the link between the emotional pain and her thoughts, being completely identified with both. She could not yet see that she was feeding the pain-body with her thoughts. In other words, she lived with the burden of a deeply unhappy self. At some level, however, she must have realized that her pain originated within herself, that she was a burden to herself. She was ready to awaken, and this is why she had come. I directed the focus of her attention to what she was feeling inside her body and asked her to sense the emotion directly, instead of through the filter of her unhappy thoughts, her unhappy story. She said she had come expecting me to show her the way out of her unhappiness, not into it. Reluctantly, however, she did what I asked her to do. Tears were rolling down her face, her whole body was shaking. “At this moment, this is what you feel.” I said. “There is nothing you can do about the fact that at this moment this is what you feel. Now, instead of wanting this moment to be different from the way it is, which adds more pain to the pain that is already there, is it possible for you to completely accept that this is what you feel right now?” She was quiet for a moment. Suddenly she looked impatient, as if she was about to get up, and said angrily, “No, I don't want to accept this.” “Who is speaking?” I asked her. “You or the unhappiness in you? Can you see that your unhappiness about being unhappy is just another layer of unhappiness?” She became quiet again. “I am not asking you to do anything. All I'm asking is that you find out whether it is possible for you to allow those feelings to be there. In other words, and this may sound strange, if you don't mind being unhappy, what happens to the unhappiness? Don't you want to find out?” She looked puzzled briefly, and after a minute or so of sitting silently, I suddenly noticed a significant shift in her energy field. She said, “This is weird. I 'm still unhappy, but now there is space around it. It seems to matter less.” This was the first time I heard somebody put it like that: There is space around my unhappiness. That space, of course, comes when there is inner acceptance of whatever you are experiencing in the present moment. I didn't say much else, allowing her to be with the experience. Later she came to understand that the moment she stopped identifying with the feeling, the old painful emotion that lived in her, the moment she put her attention on it directly without trying to resist it, it could no longer control her thinking and so become mixed up with a mentally constructed story called “The Unhappy Me.” Another dimension had come into her life that transcended her personal past – the dimension of Presence. Since you cannot be unhappy without an unhappy story, this was the end of her unhappiness. It was also the beginning of the end of her pain-body. Emotion in itself is not unhappiness. Only emotion plus an unhappy story is unhappiness. When our session came to an end, it was fulfilling to know that I had just witnessed the arising of Presence in another human being. The very reason for our existence in human form is to bring that dimension of consciousness into this world. I had also witnessed a diminishment of the pain-body, not through fighting it but through bringing the light of consciousness to it.

Those were the people who made her something, and without them she was different. She'd held on to them and to that old self tenaciously, though. She clung to it, celebrated it, worshipped it even, instead of constructing a new grown-up life for herself. For years she'd been eating the cold crumbs left over from a great feast, living on them as though they could last her forever.

That invisibility to which I refer occurs because of a peculiar disposition of the eyes of those with whom I come in contact. A matter of the construction of their INNER eyes, those eyes with which they look through their physical eyes upon reality.

The freedom to choose...means the freedom to make mistakes, to falter and fail, to come face-to-face with your own flaws and limitations and fears and secrets, to live with the terrible uncertainty that necessarily attends the construction of a self.

Knowing yourself now requires the understanding that the conscious you occupies only a small room in the mansion of the brain, and that it has little control over the reality constructed for you.

Are small, critical actions enough? Small gestures make us feel good—about ourselves, about others. Small things connect us. They feel like everything. A lot depends on them. It’s not unlike religion and God. We believe in certain constructs that help us understand life. Not only to understand it, but as a means of providing comfort. The idea that we are better off with one person for the rest of our lives is not an innate truth of existence. It’s a belief we want to be true.

The fact is, most people go through life without ever living. They say you have to learn how to construct a self who remains free in spite of the system. And you have to get used to the idea that it's every man for himself in this world. It requires a strange self-awareness, whereby everything down to the finest detail must be performed before the eyes of the world.

That we leave our homes, that we step through our doors to the world, that we travel our whole lives not because we want to collect exotic T-shirts, not because we want to consume foreign adventure the same Western way we consume plastic and Styrofoam and LCD TVs and iPads, but because it has the power to renew us—not the guarantee, not the promise, just the possibility. Because there are places our imaginations can never construct for us, and there are people who we will never meet but we could and we might. It reminds us that there is always reason to begin again.

Couples with a strong friendship have a lot more access to their humor, affection, and the positive energy that make it possible to have disagreements or to live with them in a much more constructive and creative way. It’s about earning and building up points.

Habitualization devours objects, clothes, furniture, one's wife, and the fear of war. If all the complex lives of many people go on unconsciously, then such lives are as if they had never been. Art exists to help us recover the sensation of life; it exists to make us feel things, to make the stone stony. The end of art is to give a sensation of the object seen, not as recognized. The technique of art is to make things 'unfamiliar,' to make forms obscure, so as to increase the difficulty and the duration of perception. The act of perception in art is an end in itself and must be prolonged. In art, it is our experience of the process of construction that counts, not the finished product.

Eco” comes from the Greek word oikos, meaning home. Ecology is the study of home, while economics is the management of home. Ecologists attempt to define the conditions and principles that govern life’s ability to flourish through time and change. Societies and our constructs, like economics, must adapt to those fundamentals defined by ecology. The challenge today is to put the “eco” back into economics and every aspect of our lives.

Always choose to be smart There are two types of people in the world, the seekers of riches and the wise thinkers, those who believe that the important thing is money, and those who know that knowledge is the true treasure. I, for my part, choose the second option, Though I could have everything I want I prefer to be an intelligent person, and never live in a game of vain appearances. Knowledge can take you far far beyond what you imagine, It can open doors and opportunities for you. and make you see the world with different eyes. But in this eagerness to be "wise", There is a task that is a great challenge. It is facing the fear of the unknown, and see the horrors around every corner. It's easy to be brave when you're sure, away from dangers and imminent risks, but when death threatens you close, "wisdom" is not enough to protect you. Because, even if you are smart and cunning, death sometimes comes without mercy, lurking in the darkest shadows, and there is no way to escape. That is why the Greek philosophers, They told us about the moment I died, an idea we should still take, to understand that death is a reality. Wealth can't save you of the inevitable arrival of the end, and just as a hoarder loses his treasures, we also lose what we have gained. So, if we have to choose between two things, that is between being cunning or rich, Always choose the second option because while the money disappears, wisdom helps us face dangers. Do not fear death, my friend, but embrace your intelligence, learn all you can in this life, and maybe you can beat time and death for that simple reason always choose to be smart. Maybe death is inevitable But that doesn't mean you should be afraid because intelligence and knowledge They will help you face any situation and know what to do. No matter what fate has in store, wisdom will always be your best ally, to live a life full of satisfaction, and bravely face any situation. So don't settle for what you have and always look for ways to learn more, because in the end, true wealth It is not in material goods, but in knowledge. Always choose to be smart, Well, that will be the best investment. that will lead you on the right path, and it will make you a better version of yourself.

Destruction is as valid an artistic statement as construction. Both statements echo the model of the society we live in. The only invalid art is utopian

The point was living with grace, decency, and attention to the world, and breaking free of the artificial constructs in your own life.

Gender is a psychosocial virtual entity without location in a person's body. It solely exists in, and is perpetuated by, the society in which the person lives.

Jace had disappeared under the table. He appeared a moment later, holding Church, the Institute's part-time cat. Church had his paws stuck straight out and a look of satisfaction on his face. "We thought the same thing," said Jace, settling the cat on his lap. "But apparently, according to Magnus, there are spells that can be constructed to be activated by a warlock's death." Emma glared at Church. She knew the cat had once lived in the New York Institute, but it seemed rude to show preference so blatantly. The cat was lying on his back on Jace's lap, purring and ignoring her.

I remember joking with my friend in high school, “Can you think about not thinking?” We noticed that the mind never stops and we noticed that you really can't think about not thinking. In fact, we couldn’t “not think” at all. And that was a question that plagued me for a long time. There's a greater wisdom that comes when we're not clouded in thought, when we're not lost in thought, when we're addressing exactly what's happening and not some mentally constructed simulation of what's actually happening.

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.

Hardly any aspect of my life, from where I had lived to my education to my employment history to my friendships, had been free from the taint of racial inequity, from racism, from whiteness. My racial identity had shaped me from the womb forward. I had not been in control of my own narrative. It wasn’t just race that was a social construct. So was I.

For there is merely bad luck in not being loved; there is misfortune in not loving. All of us, today, are dying of this misfortune. For violence and hatred dry up the heart itself; the long fight for justice exhausts the love that nevertheless gave birth to it. In the clamor in which we live, love is impossible and justice does not suffice. This is why Europe hates daylight and is only able to set injustice up against injustice. But in order to keep justice from shriveling up like a beautiful orange fruit containing nothing but a bitter, dry pulp, I discovered once more at Tipasa that one must keep intact in oneself a freshness, a cool wellspring of joy, love the day that escapes injustice, and return to combat having won that light. Here I recaptured the former beauty, a young sky, and I measured my luck, realizing at last that in the worst years of our madness the memory of that sky had never left me. This was what in the end had kept me from despairing. I had always known that the ruins of Tipasa were younger than our new constructions or our bomb damage. There the world began over again every day in an ever new light. O light! This is the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer.

There is a strange emptiness to life without myths. I am African American — by which I mean, a descendant of slaves, rather than a descendant of immigrants who came here willingly and with lives more or less intact. My ancestors were the unwilling, unintact ones: children torn from parents, parents torn from elders, people torn from roots, stories torn from language. Past a certain point, my family’s history just… stops. As if there was nothing there. I could do what others have done, and attempt to reconstruct this lost past. I could research genealogy and genetics, search for the traces of myself in moldering old sale documents and scanned images on microfiche. I could also do what members of other cultures lacking myths have done: steal. A little BS about Atlantis here, some appropriation of other cultures’ intellectual property there, and bam! Instant historically-justified superiority. Worked great for the Nazis, new and old. Even today, white people in my neck of the woods call themselves “Caucasian”, most of them little realizing that the term and its history are as constructed as anything sold in the fantasy section of a bookstore. These are proven strategies, but I have no interest in them. They’ll tell me where I came from, but not what I really want to know: where I’m going. To figure that out, I make shit up.

Other people you know seem to change quite easily. They have no problem at all with succeeding at their careers and buying apartments and moving to other cities and falling in love and getting married and hyphenating their names and adopting rescue cats and, finally, having children, and then documenting all of this meticulously on the internet. Really, it appears to be effortless on their part. Their lives are constructed like buildings, each precious but totally unsurprising block stacked before your eyes.

My people understood that time is an ocean, not a river. It doesn't flow away and pour itself out, done and gone. It simply is - eternal and entire. Mortals might move through it in one direction, but that's no reflection of its true nature - only of our limitations. Past and future are our own constructs. And as for myths, some are made up, nothing but fantasy. But some myths are true. Some have already been lived. And in the drift of time, eternal and entire, some haven't.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

... there's the fact of her being a hundred and four years old. I keep saying that's her age, but actually I'm just guessing. We don't really know for sure how old she is, and she claims she doesn't remember, either. When you ask her, she says, "Zuibun nagaku ikasarete itadaite orimasu ne." .... (footnote) Zuibun nagaku ikasarete itadaite orimasu ne -- "I have been alive for a very long time, haven't I?" Totally impossible to translate, but the nuance is something like: "I have been caused to live by the deep conditions of the universe to which I am humbly and deeply grateful. P. Arai calls it the "gratitude tense," and says the beauty of this grammatical construction is that "there is no finger pointed to a source." She also says, "It is impossible to feel angry when using this tense.

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.

There are two influences ever present in the world. One is constructive and elevating and comes from our Heavenly Father; the other is destructive and debasing and comes from Lucifer. We have our agency and make our own choice in life subject to these unseen powers. There is a division line well defined that separates the Lord's territory from Lucifer's. If we live on the Lord's side of the line Lucifer cannot come there to influence us, but if we cross the line into his territory we are in his power. By keeping the commandments of the Lord we are safe on His side of the line, but if we disobey His teachings we voluntarily cross into the zone of temptation and invite the destruction that is ever present there. Knowing this, how anxious we should always be to live on the Lord's side of the line.

When asked about the difficulties of sculpture, Michelangelo said, “It is easy. You just chip away all the stone that isn’t David.” It’s simple to cut things out of a life. You break up with a shitty partner, quit eating bread, delete the Twitter app. You cut it out, and the shape of what’s actually killing you clarifies a little. The whole Abrahamic world invests itself in this promise: Don’t lie, don’t cheat, don’t fuck or steal or kill, and you’ll be a good person. Eight of the ten commandments are about what thou shalt not. But you can live a whole life not doing any of that stuff and still avoid doing any good. That’s the whole crisis. The rot at the root of everything. The belief that goodness is built on a constructed absence, not-doing. That belief corrupts everything, has everyone with any power sitting on their hands. A rich man goes a whole day without killing a single homeless person and so goes to sleep content in his goodness. In another world, he’s buying crates of socks and Clif bars and tents, distributing them in city centers. But for him, abstinence reigns.

We were made to build, to co-create, to bring glory to God with the work of our hands, to move into the world as unique reflections of Christ. But we were not made to fill rooms, stadiums, or bank accounts. We were not made to fill our souls with worth we construct with our hands.

…I still have some respect. Respect for those who read. For those who snatch important time from their lives so as to construct a new one. Nothing is more powerful than reading; no one is a greater liar than he who holds that reading a book is a passive gesture…Reading is a dangerous act, because it gives shape and dimension to words, it incarnates and disperses them in all directions. It turns everything upside down and makes change and tickets and lint fall out of the pockets of the world…to know is the first step toward change. My respect goes to those people who don’t throw these stories away, who don’t neglect them, who make them their own. Those who feel the words on their skin, who carve them in their flesh, who build a new vocabulary – they are altering the direction of the world, because they have understood how to be in it.

There are times when I'm alone and I think, This is it. This is actually the natural state. All I need are my thoughts and my small acts of creation and my ability to go or do whatever I want to go or do. I am myself, and that is the point. Pairing is a social construction. It is by no means necessary for everyone to do it. Maybe I'm better like this. Maybe I could live my life in my own world, and then simply leave it when it's time to go.

I have lived my life in pursuit of the remade world... I believe in truth. I believe in truth denied any use of it can believe in it. I know its power. I know the threat it represents to a world constructed on lies. I know the myths of the family that thread through our society's literature, music, politics - and I know the reality. The reality is that for many of us family was as much the incubator of despair as the safe nurturing haven the myths promised... But I also believe in hope... The worst thing done to us in the name of a civilized society is to label the truth of our lives material outside the legitimate subject matter of serious writers... I need you to do more than survive. As writers, as revolutionaries, tell the truth, your truth in your own way. Do not buy into their system of censorship, imagining that if you drop this character or hide that emotion, you can slide through their blockades. Do not eat your heart out in the hope of pleasing them. The only hope you have, the only hope any of us has, is the remade life.

Whether we are speaking of a flower or an oak tree, of an earthworm or a beautiful bird, of an ape or a person, we will do well, I believe, to recognize that life is an active process, not a passive one. Whether the stimulus arises from within or without, whether the environment is favorable or unfavorable, the behaviors of an organism can be counted on to be in the direction of maintaining, enhancing, and reproducing itself. This is the very nature of the process we call life. This tendency is operative at all times. Indeed, only the presence or absence of this total directional process enables us to tell whether a given organism is alive or dead. The actualizing tendency can, of course, be thwarted or warped, but it cannot be destroyed without destroying the organism. I remember that in my boyhood, the bin in which we stored our winter's supply of potatoes was in the basement, several feet below a small window. The conditions were unfavorable, but the potatoes would begin to sprout—pale white sprouts, so unlike the healthy green shoots they sent up when planted in the soil in the spring. But these sad, spindly sprouts would grow 2 or 3 feet in length as they reached toward the distant light of the window. The sprouts were, in their bizarre, futile growth, a sort of desperate expression of the directional tendency I have been describing. They would never become plants, never mature, never fulfill their real potential. But under the most adverse circumstances, they were striving to become. Life would not give up, even if it could not flourish. In dealing with clients whose lives have been terribly warped, in working with men and women on the back wards of state hospitals, I often think of those potato sprouts. So unfavorable have been the conditions in which these people have developed that their lives often seem abnormal, twisted, scarcely human. Yet, the directional tendency in them can be trusted. The clue to understanding their behavior is that they are striving, in the only ways that they perceive as available to them, to move toward growth, toward becoming. To healthy persons, the results may seem bizarre and futile, but they are life's desperate attempt to become itself. This potent constructive tendency is an underlying basis of the person-centered approach.

Our categories are important. We cannot organize a social life, a political movement, or our individual identities and desires without them. The fact that categories invariably leak and can never contain all the relevant "existing things" does not render them useless, only limited. Categories like “woman,” “butch,” “lesbian,” or “transsexual” are all imperfect, historical, temporary, and arbitrary. We use them, and they use us. We use them to construct meaningful lives, and they mold us into historically specific forms of personhood. Instead of fighting for immaculate classifications and impenetrable boundaries, let us strive to maintain a community that understands diversity as a gift, sees anomalies as precious, and treats all basic principles with a hefty dose of skepticism.

It’s hard to let go of control, to stop trying to be the architect of not only our own lives but the lives of the people around us as we single-mindedly work towards our own flawed constructions of "perfection." Once we do, though, we might actually be able to recognize the beauty we’ve missed.

What would this have been, if it had more power to give?" "This may come as a surprise to you," he replied dryly, "But I am not an Ancient. Nor am I, human philosophy aside, a living construct." "Which means you don't know." "Which means, as you so succinctly put it, I do not know." - Kaylin & Tiamaris

At cocktail parties, I played the part of a successful businessman's wife to perfection. I smiled, I made polite chit-chat, and I dressed the part. Denial and rationalization were two of my most effective tools in working my way through our social obligations. I believed that playing the roles of wife and mother were the least I could do to help support Tom's career. During the day, I was a puzzle with innumerable pieces. One piece made my family a nourishing breakfast. Another piece ferried the kids to school and to soccer practice. A third piece managed to trip to the grocery store. There was also a piece that wanted to sleep for eighteen hours a day and the piece that woke up shaking from yet another nightmare. And there was the piece that attended business functions and actually fooled people into thinking I might have something constructive to offer. I was a circus performer traversing the tightwire, and I could fall off into a vortex devoid of reality at any moment. There was, and had been for a very long time, an intense sense of despair. A self-deprecating voice inside told me I had no chance of getting better. I lived in an emotional black hole. p20-21, talking about dissociative identity disorder (formerly multiple personality disorder).

Funny, how accustomed I’d become to visiting her here; how it gave me a strange sense of comfort to know that she and I were living in the same building. Her presence on base changed everything for me; the weeks she spent here became the first I ever enjoyed living in these quarters. I looked forward to her temper. Her tantrums. Her ridiculous arguments. I wanted her to yell at me; I would’ve congratulated her had she ever slapped me in the face. I was always pushing her, toying with her emotions. I wanted to meet the real girl trapped behind the fear. I wanted her to finally break free of her own carefully constructed restraints.

I saw cities, and roads of marvelous construction. I saw cruelty and greed, but I've seen them here too. I saw a people live a life that was strange in many ways, but also much the same as anywhere else." "Then why are they so cruel?" There was an earnestness to the girl's face, an honest desire to know. "Cruelty is in all of us," he said. "But they made it a virtue.

Long before we had writing or farms or post-digital strike helicopters, we had each other. We lived together and changed each other, and so we needed to say “this is who I am, this is what I do.” So, in the same way that we attached sounds to meanings to make language, we began to attach clusters of behavior to signal social roles. Those clusters were rich, and quick-changing, and so just like language, we needed networks devoted to processing them. We needed a place in the brain to construct and to analyze gender.

During the Qin Dynasty, all books not relating to practical concerns such as agriculture or construction were ordered burned by the emperor to guard against "dangerous thought." Whether accounts of zombie attacks perished in the flames will never be known. This obscure section of a medical manuscript, preserved in the wall of an executed Chinese scholar, might be proof of such attacks.

Any game where the goal is to build territory has to be beautiful. There may be phases of combat, but they are only means to an end, to allow your territory to survive. One of the most extraordinary aspects of the game of go is that it has been proven that in order to win, you must live, but you must also allow the other player to live. Players who are too greedy will lose: it is a subtle game of equilibrium, where you have to get ahead without crushing the other player. In the end, life and death are only the consequences of how well or how poorly you have made your construction. This is what one of Taniguchi's characters says: you live, you die, these are consequences. It's a proverb for playing go, and for life.

I wish I'd been accepted sooner and better. When I was younger, not being accepted made me enraged, but now, I am not inclined to dismantle my history. If you banish the dragons, you banish the heroes--and we become attached to the heroic strain in our personal history. We choose our own lives. It is not simply that we decide on the behaviors that construct our experience; when given our druthers, we elect to be ourselves. Most of us would like to be more successful or more beautiful or wealthier, and most people endure episodes of low self-esteem or even self-hatred. We despair a hundred times a day. But we retain the startling evolutionary imperative for the fact of ourselves, and with that splinter of grandiosity we redeem our flaws. These parents have, by and large, chosen to love their children, and many of them have chosen to value their own lives, even though they carry what much of the world considers an intolerable burden. Children with horizontal identities alter your self painfully; they also illuminate it. They are receptacles for rage and joy-even for salvation. When we love them, we achieve above all else the rapture of privileging what exists over what we have merely imagined. A follower of the Dalai Lama who had been imprisoned by the Chinese for decades was asked if he had ever been afraid in jail, and he said his fear was that he would lose compassion for his captors. Parents often think that they've captured something small and vulnerable, but the parents I've profiled here have been captured, locked up with their children's madness or genius or deformity, and the quest is never to lose compassion. A Buddhist scholar once explained to me that most Westerners mistakenly think that nirvana is what you arrive at when your suffering is over and only an eternity of happiness stretches ahead. But such bliss would always be shadowed by the sorrow of the past and would therefore be imperfect. Nirvana occurs when you not only look forward to rapture, but also gaze back into the times of anguish and find in them the seeds of your joy. You may not have felt that happiness at the time, but in retrospect it is incontrovertible. For some parents of children with horizontal identities, acceptance reaches its apogee when parents conclude that while they supposed that they were pinioned by a great and catastrophic loss of hope, they were in fact falling in love with someone they didn't yet know enough to want. As such parents look back, they see how every stage of loving their child has enriched them in ways they never would have conceived, ways that ar incalculably precious. Rumi said that light enters you at the bandaged place. This book's conundrum is that most of the families described here have ended up grateful for experiences they would have done anything to avoid.

One of the most important steps in therapy is helping people take responsibility for their current predicaments, because once they realize that they can (and must) construct their own lives, they’re free to generate change. Often, though, people carry around the belief that the majority of their problems are circumstantial or situational—which is to say, external. And if the problems are caused by everyone and everything else, by stuff out there, why should they bother to change themselves? Even if they decide to do things differently, won’t the rest of the world still be the same? It’s a reasonable argument. But that’s not how life generally works. Remember Sartre’s famous line “Hell is other people”? It’s true—the world is filled with difficult people (or, as John would have it, “idiots”). I’ll bet you could name five truly difficult people off the top of your head right now—some you assiduously avoid, others you would assiduously avoid if they didn’t share your last name. But sometimes—more often than we tend to realize—those difficult people are us. That’s right—sometimes hell is us. Sometimes we are the cause of our difficulties. And if we can step out of our own way, something astonishing happens.

To consume the best for yourself and give the crumbs to God is blasphemy. A heart that truly worships is a heart that gives its best to God in time and substance. A heart that truly worships God gives generously to the causes of God---causes that God cares deeply about. I have to wonder whether someday we may wake up to discover that all our incestous spending on ourselves and our frantic construction of excessively luxurious places of worship---even as we ignore, for the most part, the hurting and the deprived of the world---filled God's heart with pain.

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.

This Voyager spacecraft was constructed by the United States of America. We are a community of 240 million human beings among the more than 4 billion who inhabit the planet Earth. We human beings are still divided into nation states, but these states are rapidly becoming a single global civilization. We cast this message into the cosmos. It is likely to survive a billion years into our future, when our civilization is profoundly altered and the surface of the Earth may be vastly changed. Of the 200 billion stars in the Milky Way galaxy, some--perhaps many--may have inhabited planets and spacefaring civilizations. If one such civilization intercepts Voyager and can understand these recorded contents, here is our message: This is a present from a small distant world, a token of our sounds, our science, our images, our music, our thoughts, and our feelings. We are attempting to survive our time so we may live into yours. We hope someday, having solved the problems we face, to join a community of galactic civilizations. This record represents our hope and our determination, and our good will in a vast and awesome universe

Upon my soul!' Tietjens said to himself, 'that girl down there is the only intelligent living soul I've met for years.' A little pronounced in manner sometimes; faulty in reasoning naturally, but quite intelligent, with a touch of wrong accent now and then. But if she was wanted anywhere, there she'd be! Of good stock, of course: on both sides! But positively, she and Sylvia were the only two human beings he had met for years whom he could respect: the one for sheer efficiency in killing; the other for having the constructive desire and knowing how to set about it. Kill or cure! The two functions of man. If you wanted something killed you'd go to Sylvia Tietjens in sure faith that she would kill it: emotion, hope, ideal; kill it quick and sure. If you wanted something kept alive you'd go to Valentine: she's find something to do for it. . . . The two types of mind: remorseless enemy, sure screen, dagger ... sheath! Perhaps the future of the world then was to women? Why not? He hand't in years met a man that he hadn't to talk down to - as you talk down to a child, as he had talked down to General Campion or to Mr. Waterhouse ... as he always talked down to Macmaster. All good fellows in their way ...

It can also be useful to politics, enabling that science to discover how much of it is no more than verbal construction, myth, literary tops. Politics, like literature, must above all know itself and distrust itself. As a final observation, I should like to add that it is impossible today for anyone to feel innocent, if in whatever we do or say we can discover a hidden motive - that of a white man, or a male, or the possessor of a certain income, or a member of a given economic system, or a sufferer from a certain neurosis - this should not induce in us either a universal sense of guilt or an attitude of universal accusation. When we become aware of our disease or of our hidden motives, we have already begun to get the better of them. What matters is the way in which we accept our motives and live through the ensuing crisis. This is the only chance we have of becoming different from the way we are - that is, the only way of starting to invent a new way of being.

Good values are 1) reality-based, 2) socially constructive, and 3) immediate and controllable. Bad values are 1) superstitious, 2) socially destructive, and 3) not immediate or controllable. Good, healthy values are achieved internally. Something like creativity or humility that can be experienced right now. You simply have to orient your mind in a certain way to experience it. These values are immediate and controllable and engage you with the world as it is rather than how you wish it were. Bad values are generally reliant on external events.

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

Graves aren't for the dead. They're for the loved ones the dead leave behind them. Once those loved ones have gone, once all the lives that have touched the occupant of any given grave had ended, then the grave's purpose was fulfilled and ended. I suppose if you looked at it that way, one might as well decorate one's grave with an enormous statue or a giant temple. It gave people something to talk about, at least. Although, following that logic, I would need to have a roller coaster, or maybe a Tilt-A-Whirl constructed over my own grave when I died. Then even after my loved ones had moved on, people could keep having fun for years and years. Of course, I'd need a slightly larger plot.

I refuse to denounce social media as a terrible evil that is plaguing young people today. Maybe because I sort of grew up on it and I think the Internet has enriched my life--I've made friends on social media, I've laughed until I've cried at a perfectly constructed tweet and I've learned more about gender, race, sexuality, class, and politics online than I have anywhere else.

This reinforced Rivers’s view that it was prolonged strain, immobility and helplessness that did the damage, and not the sudden shocks or bizarre horrors that the patients themselves were inclined to point to as the explanation for their condition. That would help to account for the greater prevalence of anxiety neuroses and hysterical disorders in women in peacetime, since their relatively more confined lives gave them fewer opportunities of reacting to stress in active and constructive ways. Any explanation of war neurosis must account for the fact that this apparently intensely masculine life of war and danger and hardship produced in men the same disorders that women suffered from in peace.

Why, Mr. Anderson?, Why, why?. Why do you do it? Why, why get up?. Why keep fighting?. Do you believe you're fighting...for something?. For more than your survival?. Can you tell me what it is?. Do you even know?; Is it freedom?, Or truth?. Perhaps peace?. Could it be for love? Illusions, Mr. Anderson. Vagaries of perception. Temporary constructs of a feeble human intellect trying desperately to justify an existence that is without meaning or purpose. And all of them as artificial as the Matrix itself, although... only a human mind could invent something as insipid as love. You must be able to see it, Mr. Anderson. You must know it by now, You can't win. It's pointless to keep fighting. Why, Mr. Anderson?. Why?, Why do you persist?. Agent Smith ( Matrix Revolutions Movie, 2003 ).

The ability to see our lives as stories and share those stories with others is at the core of what it means to be human. We use stories to order and make sense of our lives, to define who we are, even to construct our realities: this happened, then this happened, then this. I was, I am, I will be. We recount our dreams, narrate our days and organize our memories into stories we tell others and ourselves. As natural-born storytellers, we respond to others’ stories because they are deeply, intimately familiar.

You might tell me that you have been engaging in some deep questioning and theological rethinking.1 You can no longer live with the faith you inherited from your parents or constructed earlier in your life. As you sort through your dogma and doctrine, you’ve found yourself praying less, less thrilled about worship, scripture, or church attendance. You’ve been so focused on sorting and purging your theological theories that you’ve lost track of the spiritual practices that sustain an actual relationship with God. You may even wonder if such a thing is possible for someone like you.

At this stage of the game, I don’t have the time for patience and tolerance. Ten years ago, even five years ago, I would have listened to people ask their questions, explained to them, mollified them. No more. That time is past. Now, as Norman Mailer said in Naked and the Dead, ‘I hate everything which is not in myself.’ If it doesn’t have a direct bearing on what I’m advocating, if it doesn’t augment or stimulate my life and thinking, I don’t want to hear it. It has to add something to my life. There’s no more time for explaining and being ecumenical anymore. No more time. That’s a characteristic I share with the new generation of Satanists, which might best be termed, and has labeled itself in many ways, an ‘Apocalypse culture.’ Not that they believe in the biblical Apocalypse—the ultimate war between good and evil. Quite the contrary. But that there is an urgency, a need to get on with things and stop wailing and if it ends tomorrow, at least we’ll know we’ve lived today. It’s a ‘fiddle while Rome burns’ philosophy. It’s the Satanic philosophy. If the generation born in the 50’s grew up in the shadow of The Bomb and had to assimilate the possibility of imminent self destruction of the entire planet at any time, those born in the 60’s have had to reconcile the inevitability of our own destruction, not through the bomb but through mindless, uncontrolled overpopulation. And somehow resolve in themselves, looking at what history has taught us, that no amount of yelling, protesting, placard waving, marching, wailing—or even more constructive avenues like running for government office or trying to write books to wake people up—is going to do a damn bit of good. The majority of humans have an inborn death wish—they want to destroy themselves and everything beautiful. To finally realize that we’re living in a world after the zenith of creativity, and that we can see so clearly the mechanics of our own destruction, is a terrible realization. Most people can’t face it. They’d rather retreat to the comfort of New Age mysticism. That’s all right. All we want, those few of us who have the strength to realize what’s going on, is the freedom to create and entertain and share with each other, to preserve and cherish what we can while we can, and to build our own little citadels away from the insensitivity of the rest of the world.

And who wouldn't wish that? Certainly everyone here- dressed up as aliens, and wizards, and zombies, and superheroes- wants desperately to be inside a story, to be part of something more logical and meaningful than real life seems to be. Because even worlds with dragons and time machines seem to be more ordered than our own. When you live for stories, when you spend so much of your time immersed in careful constructs of three and five acts, it sometimes feels like you're just stumbling through the rest of life, trying to divine meaningful narrative threads from the chaos. Which, as I learned the hard way this weekend, can be painfully fruitless. Fiction is there when real life fails you. But it's not a substitute.

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.

Things are either devolving toward, or evolving from, nothingness. As dusk approaches in the hinterlands, a traveler ponders shelter for the night. He notices tall rushes growing everywhere, so he bundles an armful together as they stand in the field, and knots them at the top. Presto, a living grass hut. The next morning, before embarking on another day's journey, he unknots the rushes and presto, the hut de-constructs, disappears, and becomes a virtually indistinguishable part of the larger field of rushes once again. The original wilderness seems to be restored, but minute traces of the shelter remain. A slight twist or bend in a reed here and there. There is also the memory of the hut in the mind of the traveler — and in the mind of the reader reading this description. Wabi-sabi, in its purest, most idealized form, is precisely about these delicate traces, this faint evidence, at the borders of nothingness.

It's true we all build imaginary prisons for ourselves. Believe that we are trapped behind the invisible bars of the lives we have somehow carelessly constructed for ourselves, despite our youthful promises to ourselves. We see adults who are stagnant and miserable as we grow up. They graffiti the walls behind them with their mistakes and we swear secret oaths that we will heed those warnings. We’re much too clever, we know all the shortcuts and the back alleys.

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 [...]

The bulk of the world's knowledge is an imaginary construction. History is but a mode of imagining, of making us see civilizations that no longer appear upon the earth. Some of the most significant discoveries in modern science owe their origin to the imagination of men who had neither accurate knowledge nor exact instruments to demonstrate their beliefs. If astronomy had not kept always in advance of the telescope, no one would ever have thought a telescope worth making. What great invention has not existed in the inventor's mind long before he gave it tangible shape?

To speak in nature's language, we must prioritize bio-based structural materials; biopolymers. Biopolymers are natural polymers produced by the cells of living organisms. We're already utilizing them in products, pharma, and even in fashion. But to deploy them on the architectural scale, we need to invest in design and construction technologies that emulate their heirarchical properties by engineering real time chemical formation.

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.

To ensure that we are leading with our feet firmly planted on the soil of what is, we must live by the seven commandments of current reality: Thou shalt not pretend. Though shalt not turn a blind eye. Thou shalt not exaggerate. Thou shalt not shoot the bearer of bad news. Thou shalt not hide behind the numbers. Thou shalt not ignore constructive criticism. Thou shalt not isolate thyself. Attempting to lead while turning a blind eye to reality is like treading water: It can only go on for so long, eventually you will sink. As a next generation leader, be willing to face the truth regardless of how painful it might be. And if you don’t like what you see, change it.

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.

The whole Abrahamic world invests itself in this promise: Don't lie, don't cheat, don't fuck or steal or kill, and you'll be a good person. Eight of the ten commandments are about what thou shalt not. But you can live a whole life not doing any of that stuff and still avoid doing any good. That's the whole crisis. The rot at the root of everything. The belief that goodness is built on a constructed absence, not-doing. That belief corrupts everything, has everyone with any power sitting on their hands. A rich man goes a whole day without killing a single homeless person and so goes to sleep content in his goodness. In another world, he's buying crates of socks and Clif bars and tents, distributing them in city centers. But for him, abstinence reigns.

Nothing could be further from the truth. All identities, without exception, have been socially constructed: the Han, the Burman, the American, the Danish, all of them. Quite often such identities, particularly minority identities, are at first imagined by powerful states, as the Han imagined the Miao, the British colonists imagined the Karen and the Shan, the French the Jarai. Whether invented or imposed, such identities select, more or less arbitrarily, one or another trait, however vague-religion, language, skin color, diet, means of subsistence-as the desideratum. Such categories, institutionalized in territories, land tenure, courts, customary law, appointed chiefs, schools, and paperwork, may become passionately lived identities. To the degree that the identity is stigmatized by the larger state or society, it is likely to become for many a resistant and defiant identity. Here invented identities combine with self-making of a heroic kind, in which such identifications become a badge of honor

Everything that we were, everything we based our lives upon, everything that we believed is gone. In my journal one time, I expressed the feeling of hurt that I carry around, so similar to the feeling of being betrayed, and I concluded that I had been betrayed, by Life itself, and that’s pretty deep. So, the betrayed ones, like you and me, have to start all over again, from Absolute Zero, and construct some new version of “Life,” one that we can “live with.” No way we can hold onto what we used to believe, and no way we can forget what has actually happened in our lives, and in our worlds. We will never trust Life again.

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.

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.

If you want to live the fullness of your life—if you want to be free—you must understand, first, why you are not free, what keeps you from being free. The word prison comes from the Latin praehendere, meaning to seize, grasp, capture. A prison doesn’t have to be a physical place; it can be anything your mind creates. What has taken ahold of you? The natural process of socialization requires that the individual be influenced by Shoulds in order to function as a part of society. However, as you grow up, it is healthy to be self-aware about the Shoulds you inherited. You might value and keep some Shoulds, while others you might choose to discard. If you want to know Must, get to know Should. This is hard work. Really hard work. We unconsciously imprison ourselves to avoid our most primal fears. We choose Should because choosing Must is terrifying, incomprehensible. Our prison is constructed from a lifetime of Shoulds, the world of choices we’ve unwittingly agreed to, the walls that alienate us from our truest, most authentic selves. Should is the doorkeeper to Must. And just as you create your prison, you can set yourself free.

If you don’t teach that dog to sit, she’s going to die!” said the tall bearded man in blue jeans standing next to me. He pointed at the ground, bent down to get in Belvy’s face, and bellowed at her, “SIT!!” To my astonishment, Belvy sat. She didn’t just sit, she pounded her butt into the pavement, and looked up at the man wagging her tail. The man was in my face now. “See? It’s not mean, it’s clear.” The light changed, and the man strode across the street, leaving me with words to live by.

...Is there a more monstrous thought, a more convincing spectacle, a more patent affirmation of the impotence and madness of the brain? War. All our philosophies, religions, arts, techniques and trades lead to nothing but this. The finest flowers of civilization. The purest constructions of thought. The most generous and altruistic passions of the heart. The most heroic gestures of man. War. Now and thousand years ago. Tomorrow and a hundred thousand years ago. No, it's not a ...more "...Is there a more monstrous thought, a more convincing spectacle, a more patent affirmation of the impotence and madness of the brain? War. All our philosophies, religions, arts, techniques and trades lead to nothing but this. The finest flowers of civilization. The purest constructions of thought. The most generous and altruistic passions of the heart. The most heroic gestures of man. War. Now and thousand years ago. Tomorrow and a hundred thousand years ago. No, it's not a question of your country, my German or French friend, or yours, whether you're black or white or Papuan or a Borneo monkey. It's a question of your life. If you want to live, kill. Kill so that you can be free, or eat, or shit. The shameful thing is to kill in masses, at a predetermined hour on a predetermined day, in honour of certain principles, under cover of a flag, with old men nodding approval, to kill in a disinterested or passive way. Stand alone against them all, young man, kill, kill, you are unique, you're the only man alive, kill until the others cut you short with the guillotine or the cord or the rope, with or without ceremony, in the name of the Community or King. What a laugh.

Human social life, I suggest, is the magma that erupts and builds up, so to speak, at the fault lines where natural human capacities meet and grind against and over natural human limitations…. This meeting of powers and limitations produces a creative, dynamic tension and energy that generates and fuels the making of human social life and social structures…. It is real human persons living through the tensions of natural existential contradictions who construct patterned social meanings, interactions, institutions, and structures.

What happened? It took Gibbon six volumes to describe the decline and fall of the Roman Empire, so I shan’t embark on that. But thinking about this almost incredible episode does tell one something about the nature of civilisation. It shows that however complex and solid it seems, it is actually quite fragile. It can be destroyed. 

What are its enemies?
 
Well, first of all fear — fear of war, fear of invasion, fear of plague and famine, that make it simply not worthwhile constructing things, or planting trees or even planning next year’s crops. And fear of the supernatural, which means that you daren’t question anything or change anything. The late antique world was full of meaningless rituals, mystery religions, that destroyed self-confidence. And then exhaustion, the feeling of hopelessness which can overtake people even with a high degree of material prosperity. 

There is a poem by the modern Greek poet, Cavafy, in which he imagines the people of an antique town like Alexandria waiting every day for the barbarians to come and sack the city. Finally the barbarians move off somewhere else and the city is saved; but the people are disappointed — it would have been better than nothing. Of course, civilisation requires a modicum of material prosperity—

What civilization needs:

confidence in the society in which one lives, belief in its philosophy, belief in its laws, and confidence in one’s own mental powers. The way in which the stones of the Pont du Gard are laid is not only a triumph of technical skill, but shows a vigorous belief in law and discipline. Vigour, energy, vitality: all the civilisations—or civilising epochs—have had a weight of energy behind them. People sometimes think that civilisation consists in fine sensibilities and good conversations and all that. These can be among the agreeable results of civilisation, but they are not what make a civilisation, and a society can have these amenities and yet be dead and rigid.

But I think that this apparent desire to be a victim cloaks an opposing dread: that Americans are in truth profoundly, neurotically terrified of being victims, ever, in any way. This fear is conceivably one reason we initiated the particularly vicious and gratuitous Iraq war―because Americans can't tolerate feeling like victims, even briefly. I think it is the reason that every boob with a hangnail has been clogging the courts and haunting talk shows across the land for the last twenty years, telling his/her "story" and trying to get redress. Whatever the suffering is, it's not to be endured, for God's sake, not felt and never, ever accepted. It's to be triumphed over. And because some things cannot be triumphed over unless they are first accepted and endured, because, indeed, some things cannot be triumphed over at all, the "story" must be told again and again in endless pursuit of a happy ending. To be human is finally to be a loser, for we are all fated to lose our carefully constructed sense of self, our physical strength, our health, our precious dignity, and finally our lives. A refusal to tolerate this reality is a refusal to tolerate life, and art based on the empowering message and positive image is just such a refusal.

Ultimately, I see the Goddess as incorporating the full spectrum of existence, not just what we call ‘the feminine.’ The latter is actually a construct of a culture that divides existence into compartments, and in particular into the dualities with which we are so familiar: light/dark, female/male, mind/body, earth/spirit and so on. The true nature of existence, including true human nature, I believe, is not so split. Acting and living from the integration of all these components is what I call spirituality. Thus, the Goddess represents a unity and wholeness which is the birthright and potential of every human being. All of us, all of existence, are the Divine. In order to complete this whole by bringing back that which has been denied, I name the Divine the Goddess.

For white Americans (whiteness itself a societal construct that has changed in it definition over time), this new national holiday of Juneteenth, this day off from work, should be like an American Yom Kippur, a Day of Atonement, a day of reflection, a day to keep learning more about how we have failed as a society to live up to our ideals, and what we as individuals can do to make it better, more real, closer to our vision of justice and liberty, a vision that our founding forefathers could not even imagine. 'Do better' should be what all who carry any kind of privilege in this society should say to ourselves and to each other - what can we do, what can you do, to 'do better'?

No matter how limited their powers of reason might have been. still they must have understood that living like that was just murder, a capital crime - except it was slow, day-by-day murder. The government (or humanity) could not permit capital punishment for one man, but they permitted the murder of millions a little at a time. To kill one man - that is, to subtract 50 years from the sum of all human lives - that was a crime; but to subtract from the sum of all human lives 50,000,000 years - that was not a crime! No, really, isn't it funny? This problem in moral math could be solved in half a minute by any ten-year-old Number today, but they couldn't solve it. All their Kant's together couldn't solve it (because it never occurred to one of their Kant's to construct a system of scientific ethics - that is, one based on subtraction, addition, division, and multiplication).

Fate was not kind, life was capricious and terrible, and there was no good or reason in nature. But there is good and reason in us, in human beings, with whom fortune plays, and we can be stronger than nature and fate, if only for a few hours. And we can draw close to one another in times of need, and live to comfort each other. And sometimes when the black depths are silent, we can do even more. We can then be gods for moments, stretch out a commanding hand and create things which were not there before and which, when they are created, continue to live without us. Out of sounds, words and other frail and worthless things, we can construct playthings--songs and poems full of meaning, consolation and goodness, more beautiful and enduring than the grim sport of fortune and destiny.

Loneliness is treated like the ultimate taboo; at the same time, it’s regarded as a trifle. That to be a thirty-seven-year-old who has spent a decade without someone to hold her hand at the doctor’s office is akin to being a thirteen-year-old sighing over a boy band. Again, I know—‘single’ is not a synonym for ‘lonely.’ I know there are many lonely married people, as well as lots of single people who have a rich network of deep social connections—friends, sisters, daughters, nephews, etc.—whose lives are as far from Heller’s unhappy narrator as can be. But for many of us, living alone in a society that is so rigorously constructed around couples and nuclear families is hard on the soul.

We have, each of us, a life-story, an inner narrative — whose continuity, whose sense, is our lives. It might be said that each of us constructs and lives, a “narrative,” and that this narrative is us, our identities. If we wish to know about a man, we ask “what is his story — his real, inmost story?” — for each of us is a biography, a story. Each of us is a singular narrative, which is constructed, continually, unconsciously, by, through, and in us — through our perceptions, our feelings, our thoughts, our actions; and, not least, our discourse, our spoken narrations. Biologically, physiologically, we are not so different from each other; historically, as narratives — we are each of us unique.

We can't stop reading. Compulsively we find ourselves reading significance into dreams (we construct a science upon it); into tea-leaves and the fall of cards. We look up at the shifting vapours in the sky, and see faces, lost cities, defeated armies. Isolated in the dark, with nothing to hear and no surfaces to touch, we hallucinate reading-matter. Our craving becomes generalized – for 'the meaning of life'. If we lived alone in a featureless desert we should learn to place the individual grains of sand in a moral or aesthetic hierarchy. We should long to find the greatest grain of sand in the world, and even (in order to find a fixed point of orientation in time as well as in space) the all-time greatest grain of sand; the grain of sand whose discovery changed our whole understanding of grains of sand for ever.

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.

To be born at all is to be situated in a network of relations with other people, and furthermore to find oneself forcibly inserted into linguistic categories that might seem natural and inevitable but are socially constructed and rigorously policed. We’re all stuck in our bodies, meaning stuck inside a grid of conflicting ideas about what those bodies mean, what they’re capable of and what they’re allowed or forbidden to do. We’re not just individuals, hungry and mortal, but also representative types, subject to expectations, demands, prohibitions and punishments that vary enormously according to the kind of body we find ourselves inhabiting. Freedom isn’t simply a matter of indulging all material cravings, Sade-style. It’s also about finding ways to live without being hampered, hobbled, damaged or actively destroyed by a constant reinforcement of ideas about what is permitted for the category of body to which you’ve been assigned.

Well -- there are two kinds of loneliness, aren't there? There's the loneliness of absolute solitude -- the physical fact of living alone, working alone, as I have always done. This need not be painful. For many writers it's necessary. Others need a female staff of family servants to type their bloody books and keep the their egos afloat. Being alone for most of the day means that you listen to different rhythms, which are not determined by other people. I think it's better so. But there is another kind of loneliness which is terrible to endure....And that is the loneliness of seeing a different world from that of the people around you. Their lives remain remote from yours. You can see the gulf and they can't. You live among them. They walk on earth. You walk on glass. They reassure themselves with conformity, with carefully constructed resemblances. You are masked, aware of your absolute difference.

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.

...where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible. This was the geography around which my reality revolved: it did not occur to me, ever, that people were good or that a man was capable of change or that the world could be a better place through one's taking pleasure in a feeling or a look or a gesture, of receiving another person's love or kindness. Nothing was affirmative, the term "generosity of spirit" applied to nothing, was a cliche, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire - meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface was all that anyone found meaning in... this was civilization as I saw it, colossal and jagged...

In the book of Job, the Lord demands, “Where wast thou when I laid the foundations of the earth?” “I was there!”-surely that is the answer to God’s question. For no matter how the universe came into being, most of the atoms in these fleeting assemblies that we think of as our bodies have been in existence since the beginning. Each breath we take contains hundreds of thousands of the inert, pervasive argon atoms that were actually breathed in his lifetime by the Buddha, and indeed contain parts of all the ‘snorts, sighs, bellows, shrieks” of all creatures that ever existed or will exist. These atoms flow backward and forward in such useful but artificial constructs as time and space, in the same universal rhythms, universal breath as the tides and stars, joining both the living and the dead in that energy which animates the universe.

The word “coherence” literally means holding or sticking together, but it is usually used to refer to a system, an idea, or a worldview whose parts fit together in a consistent and efficient way. Coherent things work well: A coherent worldview can explain almost anything, while an incoherent worldview is hobbled by internal contradictions. … Whenever a system can be analyzed at multiple levels, a special kind of coherence occurs when the levels mesh and mutually interlock. We saw this cross-level coherence in the analysis of personality: If your lower-level traits match up with your coping mechanisms, which in turn are consistent with your life story, your personality is well integrated and you can get on with the business of living. When these levels do not cohere, you are likely to be torn by internal contradictions and neurotic conflicts. You might need adversity to knock yourself into alignment. And if you do achieve coherence, the moment when things come together may be one of the most profound of your life. … Finding coherence across levels feels like enlightenment, and it is crucial for answering the question of purpose within life. People are multilevel systems in another way: We are physical objects (bodies and brains) from which minds somehow emerge; and from our minds, somehow societies and cultures form. To understand ourselves fully we must study all three levels—physical, psychological, and sociocultural. There has long been a division of academic labor: Biologists studied the brain as a physical object, psychologists studied the mind, and sociologists and anthropologists studied the socially constructed environments within which minds develop and function. But a division of labor is productive only when the tasks are coherent—when all lines of work eventually combine to make something greater than the sum of its parts. For much of the twentieth century that didn’t happen — each field ignored the others and focused on its own questions. But nowadays cross-disciplinary work is flourishing, spreading out from the middle level (psychology) along bridges (or perhaps ladders) down to the physical level (for example, the field of cognitive neuroscience) and up to the sociocultural level (for example, cultural psychology). The sciences are linking up, generating cross-level coherence, and, like magic, big new ideas are beginning to emerge. Here is one of the most profound ideas to come from the ongoing synthesis: People gain a sense of meaning when their lives cohere across the three levels of their existence.

Our elders have failed us, they have not provided leadership, they have not provided counsel, they have been silent and compliant in the face of power. They have said nothing on fracking, climate collapse, the extinction crisis and done even less. The old have, for the most part, betrayed the young. This is as true of witchcraft as it is of our wider culture. It is therefore down to us as individuals to take our lead from the only source of initiation, living spirit, and through it embody the new witchcraft. We must become a witchcraft with a renewed sense of meaning and purpose, of responsibility to the land which is in crisis, or we are nothing more than consumers of the earth which will all too soon eat of us. Those who do not feel the imperative to act on this information demonstrate that they are not orientated, that is, they have no connection to the land and its denizens. Their magic is little more than a cerebral construct, and without being embodied is meaningless.

It is a mistake to think of the expatriate as someone who abdicates, who withdraws and humbles himself, resigned to his miseries, his outcast state. On a closer look, he turns out to be ambitious, aggressive in his disappointments, his very acrimony qualified by his belligerence. The more we are dispossessed, the more intense our appetites and illusions become. I even discern some relation between misfortune and megalomania. The man who has lost everything preserves as a last resort the hope of glory, or of literary scandal. He consents to abandon everything, except his name. [ . . . ] Let us say a man writes a novel which makes him, overnight, a celebrity. In it he recounts his sufferings. His compatriots in exile envy him: they too have suffered, perhaps more. And the man without a country becomes—or aspires to become—a novelist. The consequence: an accumulation of confusions, an inflation of horrors, of frissons that date. One cannot keep renewing Hell, whose very characteristic is monotony, or the face of exile either. Nothing in literature exasperates a reader so much as The Terrible; in life, it too is tainted with the obvious to rouse our interest. But our author persists; for the time being he buries his novel in a drawer and awaits his hour. The illusion of surprise, of a renown which eludes his grasp but on which he reckons, sustains him; he lives on unreality. Such, however, is the power of this illusion that if, for instance, he works in some factory, it is with the notion of being freed from it one day or another by a fame as sudden as it is inconceivable. * Equally tragic is the case of the poet. Walled up in his own language, he writes for his friends—for ten, for twenty persons at the most. His longing to be read is no less imperious than that of the impoverished novelist. At least he has the advantage over the latter of being able to get his verses published in the little émigré reviews which appear at the cost of almost indecent sacrifices and renunciations. Let us say such a man becomes—transforms himself—into an editor of such a review; to keep his publication alive he risks hunger, abstains from women, buries himself in a windowless room, imposes privations which confound and appall. Tuberculosis and masturbation, that is his fate. No matter how scanty the number of émigrés, they form groups, not to protect their interests but to get up subscriptions, to bleed each other white in order to publish their regrets, their cries, their echoless appeals. One cannot conceive of a more heart rending form of the gratuitous. That they are as good poets as they are bad prose writers is to be accounted for readily enough. Consider the literary production of any "minor" nation which has not been so childish as to make up a past for itself: the abundance of poetry is its most striking characteristic. Prose requires, for its development, a certain rigor, a differentiated social status, and a tradition: it is deliberate, constructed; poetry wells up: it is direct or else totally fabricated; the prerogative of cave men or aesthetes, it flourishes only on the near or far side of civilization, never at the center. Whereas prose demands a premeditated genius and a crystallized language, poetry is perfectly compatible with a barbarous genius and a formless language. To create a literature is to create a prose.

Smart people, like himself, who had acquired money and power weren’t nice because they had learned that caring about and helping others made them exposed and vulnerable, which led to failure. One had to look out for number one to get “the money” and “the power” the cabbie spoke of. Dale knew that money and power were finite. They were limited resources you couldn’t simply spread around the world for everyone to enjoy. Crafty, competitive people knew this and fought hard to get their share of it. People like the cabbie were naïve enough to think everyone would be happy sharing an equal amount of the pie. They lived in a fantasy world that socialism and communism touted. If the pie had been equally divided to everyone in the world, each person would hold a tiny sliver after the distribution was complete. Then everyone would be miserable and all those naïve people who had fought to make it happen would finally learn what they already knew—life was miserable with only a sliver of the pie. Of course the cabbie had suicidal thoughts and dreamed about shit towers piling high up into the sky; he was one of the caring people who had tried so hard to become another tile on the floor under the feet of cunning people, like himself, who were moving toward success by walking upon the altruistic pathway naïve people had constructed out of themselves. And that was more than fine with Dale. The greater number of people who thought like the cabbie the better, because it made it easier for people like himself to snatch up a bigger piece of the pie.

I saw the best minds of my generation destroyed by Facebook, starving hysterical naked, dragging themselves through photo slideshows at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connections of their youth through the machinery of night, who clicking and poking and hollow-eyed and high sat up smoking in the supernatural brightness of tiny screens floating across the tops of cities contemplating likes, who bared their brains to the network and saw who got pregnant and who got fat and who’s living the life best lived by posting Instagrams of themselves staggering on tenement roofs illuminated, who passed through newly cropped profile pics with radiant cool eyes obsessing over whose ex’s new lover is the best looking ex-lover’s lover, who breaking their backs falling out of ergonomic chairs while shouting into the icy streets, Everybody look how clever I am, Look how much fun I am having, Look at this amazing party I went to, Look at how well-liked I am, Look at my effortless carefully constructed casual desperate thrown together fun, Everybody look, This is fun, Look, Look, I swear to God I am having so much fun.

Everything that I know about the world, even through science, I know from a perspective that is my own or from an experience of the world without which scientific symbols would be meaningless. The entire universe of science is constructed upon the lived world, and if we wish to think science rigorously, to appreciate precisely its sense and its scope, we must first awaken that experience of the world of which science is the second-order expression. Science neither has, nor ever will have the same ontological sense as the perceived world for the simple reason that science is a determination or an explanation of that world. ... Scientific perspectives … always imply, without mentioning it, that other perspective - the perspective of consciousness - by which a world first arranges itself around me and begins to exist for me. To return to the things themselves is to return to this world prior to knowledge, this world of which knowledge always speaks, and this world with regard to which every scientific determination is abstract, signitive, and dependent, just like geography with regard to the landscape where we first learned what a forest, a meadow, or a river is.

You simply do not understand the human condition,” said the robot. Hah! Do you think you do, you conceited hunk of animated tin?” Yes, I believe so, thanks ot my study of the authors, poets, and critics who devote their lives to the exploration and description of Man. Your Miss Forelle is a noble soul. Ever since I looked upon my first copy of that exquisitely sensitive literary quarterly she edits, I have failed to understand what she sees in you. To be sure,” IZK-99 mused, “the relationship is not unlike that between the nun and the Diesel engine in Regret for Two Doves, but still… At any rate, if Miss Forelle has finally told you to go soak your censored head in expurgated wastes and then put the unprintable thing in an improbable place, I for one heartily approve. Tunny, who was no mamma’s boy — he had worked his way through college as a whale herder and bossed construction gangs on Mars — was so appalled by the robot’s language that he could only whisper, “She did not. She said nothing of the sort.” I did not mean it literally,” IZK-99 explained. “I was only quoting the renunciation scene in Gently Come Twilight. By Stichling, you know — almost as sensitive a writer as Brochet.

THE BARROW In this high field strewn with stones I walk by a green mound, Its edges sheared by the plough. Crumbs of animal bone Lie smashed and scattered round Under the clover leaves And slivers of flint seem to grow Like white leaves among green. In the wind, the chestnut heaves Where a man's grave has been. Whatever the barrow held Once, has been taken away: A hollow of nettles and dock Lies at the centre, filled With rain from a sky so grey It reflects nothing at all. I poke in the crumbled rock For something they left behind But after that funeral There is nothing at all to find. On the map in front of me The gothic letters pick out Dozens of tombs like this, Breached, plundered, left empty, No fragments littered about Of a dead and buried race In the margins of histories. No fragments: these splintered bones Construct no human face, These stones are simply stones. In museums their urns lie Behind glass, and their shaped flints Are labelled like butterflies. All that they did was die, And all that has happened since Means nothing to this place. Above long clouds, the skies Turn to a brilliant red And show in the water's face One living, and not these dead." — Anthony Thwaite, from The Owl In The Tree

Leyner's fiction is, in this regard, an eloquent reply to Gilder's prediction that our TV-culture problems can be resolved by the dismantling of images into discrete chunks we can recombine as we fancy. Leyner's world is a Gilder-esque dystopia. The passivity and schizoid decay still endure for Leyner in his characters' reception of images and waves of data. The ability to combine them only adds a layer of disorientation: when all experience can be deconstructed and reconfigured, there become simply too many choices. And in the absence of any credible, noncommercial guides for living, the freedom to choose is about as "liberating" as a bad acid trip: each quantum is as good as the next, and the only standard of an assembly's quality is its weirdness, incongruity, its ability to stand out from a crowd of other image-constructs and wow some Audience.

Christian hope frees us to act hopefully in the world. It enables us to act humbly and patiently, tackling visible injustices in the world around us without needing to be assured that our skill and our effort will somehow rid the world of injustice altogether. Christian hope, after all, does not need to see what it hopes for (Heb. 11:1); and neither does it require us to comprehend the end of history. Rather, it simply requires us to trust that even the most outwardly insignificant of faithful actions - the cup of cold water given to the child, the widow's mite offered at the temple, the act of hospitality shown to the stranger, none of which has any overall strategic socio-political significance so far as we can now see - will nevertheless be made to contribute in some significant way to the construction of God's kingdom by the action of God's creative and sovereign grace.

The previous governess had used various monsters and bogeymen as a form of discipline. There was always something waiting to eat or carry off bad boys and girls for crimes like stuttering or defiantly and aggravatingly persisting in writing with their left hand. There was always a Scissor Man waiting for a little girl who sucked her thumb, always a bogeyman in the cellar. Of such bricks is the innocence of childhood constructed. Susan’s attempts at getting them to disbelieve in the things only caused the problems to get worse. Twyla had started to wet the bed. This may have been a crude form of defense against the terrible clawed creature that she was certain lived under it. Susan had found out about this one the first night, when the child had woken up crying because of a bogeyman in the closet. She’d sighed and gone to have a look. She’d been so angry that she’d pulled it out, hit it over the head with the nursery poker, dislocated its shoulder as a means of emphasis and kicked it out of the back door. The children refused to disbelieve in the monsters because, frankly, they knew damn well the things were there. But she’d found that they could, very firmly, also believe in the poker. Now she sat down on a bench and read a book. She made a point of taking the children, every day, somewhere where they could meet others of the same age. If they got the hang of the playground, she thought, adult life would hold no fears. Besides, it was nice to hear the voices of little children at play, provided you took care to be far enough away not to hear what they were actually saying. There were lessons later on. These were going a lot better now she’d got rid of the reading books about bouncy balls and dogs called Spot. She’d got Gawain on to the military campaigns of General Tacticus, which were suitably bloodthirsty but, more importantly, considered too difficult for a child. As a result his vocabulary was doubling every week and he could already use words like “disemboweled” in everyday conversation. After all, what was the point of teaching children to be children? They were naturally good at it.

Yes, a poem, a painting, can draw the sting of troubles from a troubled world and lay in its place a blessed realm before our grateful eyes. Music and sculpture will do likewise. Yet strictly speaking, in fact, there is no need to present this world in art. You have only to conjure the world up before you, and there you will find a living poem, a fount of song. No need to commit your thoughts to paper—the heart will already sing with a sweet inner euphony. No need to stand before your easel and limn with brush and paint—the world’s vast array of forms and colors already sparkles within the inner eye. It is enough simply to be able thus to view the place we live, and to garner with the camera of the sentient heart these pure, limpid images from the midst of our sullied world. And so even if no verse ever emerges from the mute poet, even if the painter never sets brush to canvas, he is happier than the wealthiest of men, happier than any strong-armed emperor or pampered child of this vulgar world of ours—for he can view human life with an artist’s eye; he is released from the world’s illusory sufferings; he is able to come and go at ease in a realm of transcendent purity, to construct a unique universe of art, and thereby to destroy the binding fetters of self-interest and desire.

We have entered a world of shorthand, precis, digest, summary, news flash, comic strip. We are bombarded with visual images, cutting from one to another, stabbing at the mind and put out with the rubbish sacks at the end of the week. The novel that took a man or woman years to create - in research, in planning of the plot and counter-plot, in construction - each word chosen, each phrase weighed against another, themes recurring, climaxes achieved - is now reduced to a four part serial, produced with pride in the accuracy of its sets and costumes, brilliantly acted, the music of the background authentic to the period. The words, but not the minds. The science, but not the significance. THE BOOK HAS BEEN MADE A THING TO WATCH, NOT TO LIVE. WE must FIGHT to save the WRITTEN WORD as we fight to save the whale. We must keep in our minds, a place apart, a sanctuary, where a lamp lights only the table at which we sit, where the curtains are drawn against the present time. Let us begin.

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.

Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line. There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.

Many peoples practiced agriculture, but they were never obsessed by the delusion that what they were doing was *right*, that everyone in the entire world had to practice agriculture, that every last square yard of the planet had to be devoted to it... If they got tired of being agriculturalists, if they found they didn't like where it was leading them in their particular adaptation, they were *able* to give it up. They didn't say to themselves, 'Well, we've got to keep going at this even if it kills us, because its the *right* way to live.' For example, there was once a people who constructed a vast network of irrigation canals in order to farm the deserts of what is now southeastern Arizona. They maintained these canals for three thousand years and built a fairly advanced civilization, but in the end they were free to say, 'This is a toilsome and unsatisfying way to live, so to hell with it.' They simply walked away from the whole thing and put it so totally out of mind that we don't even know what they called themselves. The only name we have for them is the one the Pima Indians gave them: Hohokam--those who vanished. But it's not going to be this easy for the Takers. It's going to be hard as hell for them to give it up, because what they're doing is *right*... Giving it up would mean that all along they'd been *wrong*. It would mean they'd *never* known how to rule the world. It would mean relinquishing their pretensions to godhood.... It would mean spitting out the fruit of that tree and giving the rule of the world back to the gods.

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.

Your friend is most original,' Dan Needham said, with the greatest respect. 'Don't you see, Johnny? If he could, he would cut off his hands for you - that's how it makes him feel, to have touched that baseball bat, to have swung that bat with those results. It's how we all feel - you and me and Owen. We've lost a part of ourselves.' And Dan picked up the wrecked armadillo and began to experiment with it on my night table, trying - as I had tried - to find a position that allowed the beast to stand, or even to lie down, with any semblance of comfort or dignity; it was quite impossible. The thing had been crippled; it was rendered an invalid. And how had Owen arranged the claws? I wondered. What sort of terrible altarpiece had he constructed? Were the claws gripping the murderous baseball? And so Dan and I became quite emotional, while we struggled to find a way to make the armadillo's appearance acceptable - but that was the point, Dan concluded: there was no way that any or all of this was acceptable. What had happened was unacceptable! Yet we still had to live with it.

mental activity such as directing attention, actually shape the structure of the brain?” As we’ve seen, experience means neural firing. When neurons fire together, the genes in their nuclei—their master control centers—become activated and “express” themselves. Gene expression means that certain proteins are produced. These proteins then enable the synaptic linkages to be constructed anew or to be strengthened. Experience also stimulates the production of myelin, the fatty sheath around axons, resulting in as much as a hundredfold increase in the speed of conduction down the neuron’s length. And as we now know, experience can also stimulate neural stem cells to differentiate into wholly new neurons in the brain. This neurogenesis, along with synapse formation and myelin growth, can take place in response to experience throughout our lives. As discussed before, the capacity of the brain to change is called neuroplasticity We are now discovering how the careful focus of attention amplifies neuroplasticity by stimulating the release of neurochemicals that enhance the structural growth of synaptic linkages among the activated neurons.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

To speak of certain government and establishment institutions as “the system” is to speak correctly, since these organizations are founded upon the same structural conceptual relationships as a motorcycle. They are sustained by structural relationships even when they have lost all other meaning and purpose. People arrive at a factory and perform a totally meaningless task from eight to five without question because the structure demands that it be that way. There’s no villain, no “mean guy” who wants them to live meaningless lives, it’s just that the structure, the system demands it and no one is willing to take on the formidable task of changing the structure just because it is meaningless. But to tear down a factory or to revolt against a government or to avoid repair of a motorcycle because it is a system is to attack effects rather than causes; and as long as the attack is upon effects only, no change is possible. The true system, the real system, is our present construction of systematic thought itself, rationality itself, and if a factory is torn down but the rationality which produced it is left standing, then that rationality will simply produce another factory.

Everything becomes a blur when you travel beyond a certain speed. Distant objects may still be clear in outline, but the blurred foreground makes it impossible to attend to them. This landscape is unreal and the passengers in the express train turn to their books, their thoughts or their private fantasies. The subjectivism of our age has a good deal to do with this imprisonment in a speeding vehicle, and the fact that we made this vehicle ourselves, with all the tireless care that children give to a contrivance of wood and wire, does not save us from the sense of being trapped without hope of escape. A further effect of such vertiginous speed is a kind of anaesthesia, entirely natural when the operation of the senses by which we normally make contact with our environment is suspended. With no opportunity to assimilate what is going on, our powers of assimilation are inevitably weakened and certain numbness sets in; nothing is fully savoured and nothing is properly understood. Even fear (which exists to forewarn us of danger) is suspended. This would be so even if speed of change were the only factor involved, but the kind of environment in which a large part of humanity lives today --- the environment created by technology at the service of immediate, short-term needs – does much to intensify this effect. Outside of works of art which embody something beyond our physical needs, our own constructions bore us. Those who, when they have built something and admired the finished product for a decent moment, are ready to pull it down and start on something new have good sense on their side.

I pity those reviewers above, and people like them, who ridicule authors like R.A. Boulay and other proponents of similar Ancient Astronaut theories, simply for putting forth so many interesting questions (because that's really what he often throughout openly admits is all he does does) in light of fascinating and thought-provoking references which are all from copious sources. Some people will perhaps only read the cover and introduction and dismiss it as soon as any little bit of information flies in the face of their beliefs or normalcy biases. Some of those people, I'm sure, are some of the ones who reviewed this book so negatively without any constructive criticism or plausible rebuttal. It's sad to see how programmed and indoctrinated the vast majority of humanity has become to the ills of dogma, indoctrination, unverified status quos and basic ignorance; not to mention the laziness and conformity that results in such acquiescence and lack of critical thinking or lack of information gathering to confirm or debunk something. Too many people just take what's spoon fed to them all their lives and settle for it unquestioningly. For those people I like to offer a great Einstein quote and one of my personal favorites and that is: "Condemnation without investigation is the highest form of ignorance" I found this book to be a very interesting gathering of information and collection of obscure and/or remote antiquated information, i.e. biblical, sacred, mythological and otherwise, that we were not exactly taught to us in bible school, or any other public school for that matter. And I am of the school of thought that has been so for intended purposes. The author clearly cites all his fascinating sources and cross-references them rather plausibly. He organizes the information in a sequential manner that piques ones interest even as he jumps from one set of information to the next. The information, although eclectic as it spans from different cultures and time periods, interestingly ties together in several respects and it is this synchronicity that makes the information all the more remarkable. For those of you who continue to seek truth and enlightenment because you understand that an open mind makes for and lifelong pursuit of such things I leave you with these Socrates quotes: "True wisdom comes to each of us when we realize how little we understand about life, ourselves, and the world around us.

On Rachel's show for November 7, 2012: Ohio really did go to President Obama last night. and he really did win. And he really was born in Hawaii. And he really is legitimately President of the United States, again. And the Bureau of Labor statistics did not make up a fake unemployment rate last month. And the congressional research service really can find no evidence that cutting taxes on rich people grows the economy. And the polls were not screwed to over-sample Democrats. And Nate Silver was not making up fake projections about the election to make conservatives feel bad; Nate Silver was doing math. And climate change is real. And rape really does cause pregnancy, sometimes. And evolution is a thing. And Benghazi was an attack on us, it was not a scandal by us. And nobody is taking away anyone's guns. And taxes have not gone up. And the deficit is dropping, actually. And Saddam Hussein did not have weapons of mass destruction. And the moon landing was real. And FEMA is not building concentration camps. And you and election observers are not taking over Texas. And moderate reforms of the regulations on the insurance industry and the financial services industry in this country are not the same thing as communism. Listen, last night was a good night for liberals and for democrats for very obvious reasons, but it was also, possibly, a good night for this country as a whole. Because in this country, we have a two-party system in government. And the idea is supposed to be that the two sides both come up with ways to confront and fix the real problems facing our country. They both propose possible solutions to our real problems. And we debate between those possible solutions. And by the process of debate, we pick the best idea. That competition between good ideas from both sides about real problems in the real country should result in our country having better choices, better options, than if only one side is really working on the hard stuff. And if the Republican Party and the conservative movement and the conservative media is stuck in a vacuum-sealed door-locked spin cycle of telling each other what makes them feel good and denying the factual, lived truth of the world, then we are all deprived as a nation of the constructive debate about competing feasible ideas about real problems. Last night the Republicans got shellacked, and they had no idea it was coming. And we saw them in real time, in real humiliating time, not believe it, even as it was happening to them. And unless they are going to secede, they are going to have to pop the factual bubble they have been so happy living inside if they do not want to get shellacked again, and that will be a painful process for them, but it will be good for the whole country, left, right, and center. You guys, we're counting on you. Wake up. There are real problems in the world. There are real, knowable facts in the world. Let's accept those and talk about how we might approach our problems differently. Let's move on from there. If the Republican Party and the conservative movement and conservative media are forced to do that by the humiliation they were dealt last night, we will all be better off as a nation. And in that spirit, congratulations, everyone!

That was true, Iris would sometimes think, about marriage: it was only a boat, too. A wooden boat, difficult to build, even more difficult to maintain, whose beauty derived at least in part from its unlikelihood. Long ago the pragmatic justifications for both marriage and wooden-boat building had been lost or superseded. Why invest countless hours, years, and dollars in planing and carving, gluing and fastening, caulking and fairing, when a fiberglass boat can be had at a fraction of the cost? Why struggle to maintain love and commitment over decades when there were far easier ways to live, ones that required no effort or attention to prevent corrosion and rot? Why continue to pour your heart into these obsolete arts? Because their beauty, the way they connect you to your history and to the living world, justifies your efforts. A long marriage, like a classic wooden boat, could be a thing of grace, but only if great effort was devoted to its maintenance. At first your notions of your life with another were no more substantial than a pattern laid down in plywood. Then year by year you constructed the frame around the form, and began layering memories, griefs, and small triumphs like strips of veneer planking bent around the hull of everyday routine. You sanded down the rough edges, patched the misunderstandings, faired the petty betrayals. Sometimes you sprung a leak. You fell apart in rough weather or were smashed on devouring rocks. But then, as now, in the teeth of a storm, when it seemed like all was lost, the timber swelled, the leak sealed up, and you found that your craft was, after all, sea-kindly.

...this, this life, this "everything" you know is a mere paper construction. You, my TV dinner-sucking, glazed-eyed friends, are living in ... the matrix ... and all you have to do to see the real world, God and Satan's glorious kingdom on Earth, all you have to do to taste real life is to risk being your true self... to dare... to watch... to listen... to all the late-night staticky-voiced deejays playing "race" records blowing in under the radar, shouting their tinny AM radio manifesto, their stations filled with poets, geniuses, rockers, bluesmen, preachers, philosopher kings, speaking to you from deep in the heart of your own soul. Their voices sing, "Listen... listen to what this world is telling you, for it is calling for your love, your rage, your beauty, your sex, your energy, your rebellion... because it needs you in order to remake itself. In order to be reborn into something else, something maybe better, more godly, more wonderful, it needs us. This new world is a world of black and white. A place of freedom where the two most culturally powerful tribes in American society find common ground, pleasure and joy in each other's presence. Where they use a common language to speak with... to be with one another.

I am not sure whether you could call this abuse, but when I was (long ago) abroad in the world of dry men, I saw parents, usually upscale and educated and talented and functional and white, patient and loving and supportive and concerned and involved in their children’s lives, profilgate with compliments and diplomatic with constructive criticism, loquacious in their pronouncements of unconditional love for and approval of their children, conforming to every last jot-tittle in any conceivably definition of a good parent, I saw parent after unimpeachable parent who raised kids who were (a) emotionally retarded or (b) lethally self-indulgent or (c) chronically depressed or (d) borderline psychotic or (e) consumed with narcissistic self-loathing or (f) neurotically driven/addicted or (g) variously psychosomatically Disabled or (h) some conjunctive permutation of (a) … (g). Why is this. Why do many parents who seem relentlessly bent on producing children who feel they are good persons deserving of love produce children who grow to feel they are hideous persons not deserving of love who just happen to have lucked into having parents so marvelous that the parents love them even though they are hideous? Is it a sign of abuse if a mother produces a child who believes not that he is innately beautiful and lovable and deserving of magnificent maternal treatment but somehow that he is a hideous unlovable child who has somehow lucked in to having a really magnificent mother? Probably not. But could such a mother then really be all that magnificent, if that’s the child’s view of himself? ...I think, Mrs. Starkly, that I am speaking of Mrs. Avril M.-T. Incandenza, although the woman is so multileveled and indictment-proof that it is difficult to feel comfortable with any sort of univocal accusation of anything. Something just was not right, is the only way to put it. Something creepy, even on the culturally stellar surface.

And in an essential way, this was what he was most ashamed of: not his poor understanding of sex, not his traitorous racial tendencies, not his inability to separate himself from his parents or make his own money or behave like an autonomous creature. It was that, when he and his colleagues sat there at night, the group of them burrowed deep into their own ambitious dream-structures, all of them drawing and planning their improbable buildings, he was doing nothing. He had lost the ability to imagine anything. And so every evening, while the others created, he copied: he drew buildings he had seen on his travels, buildings other people had dreamed and constructed, buildings he had lived in or passed through. Again and again, he made what had already been made, not bothering to improve them, just mimicking them. He was twenty-eight; his imagination had deserted him; he was a copyist. It frightened him. JB had his series. Jude had his work, Willem had his. But what if Malcolm never again created anything? He longed for the years when it was enough to simply be in his room with his hand moving over a piece of graph paper, before the years of decisions and identities, when his parents made his choices for him, and the only thing he had to concentrate on was the clean blade stroke of a line, the ruler's perfect knife edge.

Bearded Oaks" The oaks, how subtle and marine, Bearded, and all the layered light Above them swims; and thus the scene, Recessed, awaits the positive night. So, waiting, we in the grass now lie Beneath the languorous tread of light: The grassed, kelp-like, satisfy The nameless motions of the air. Upon the floor of light, and time, Unmurmuring, of polyp made, We rest; we are, as light withdraws, Twin atolls on a shelf of shade. Ages to our construction went, Dim architecture, hour by hour: And violence, forgot now, lent The present stillness all its power. The storm of noon above us rolled, Of light the fury, furious gold, The long drag troubling us, the depth: Dark is unrocking, unrippling, still. Passion and slaughter, ruth, decay descend, minutely whispering down, Silted down swaying streams, to lay Foundation for our voicelessness. All our debate is voiceless here, As all our rage, the rage of stone; If hope is hopeless, then fearless is fear, And history is thus undone. Our feet once wrought the hollow street With echo when the lamps were dead All windows, once our headlight glare Disturbed the doe that, leaping fled. I do not love you less that now The caged heart makes iron stroke, Or less that all that light once gave The graduate dark should now revoke. We live in time so little time And we learn all so painfully, That we may spare this hour's term To practice for eternity.

We are always and simultaneously at point “a” (which is less desirable than it could be), moving towards point “b” (which we deem better, in accordance with our explicit and implicit values). We always encounter the world in a state of insufficiency and seek its correction. We can imagine new ways that things could be set right, and improved, even if we have everything we thought we needed. Even when satisfied, temporarily, we remain curious. We live within a framework that defines the present as eternally lacking and the future as eternally better. If we did not see things this way, we would not act at all. We wouldn’t even be able to see, because to see we must focus, and to focus we must pick one thing above all else on which to focus. But we can see. We can even see things that aren’t there. We can envision new ways that things could be better. We can construct new, hypothetical worlds, where problems we weren’t even aware of can now show themselves and be addressed. The advantages of this are obvious: we can change the world so that the intolerable state of the present can be rectified in the future. The disadvantage to all this foresight and creativity is chronic unease and discomfort. Because we always contrast what is with what could be, we have to aim at what could be. But we can aim too high. Or too low. Or too chaotically. So we fail and live in disappointment, even when we appear to others to be living well.

For Eric, Columbine was a performance. Homicidal art. He actually referred to his audience in his journal: “the majority of the audience wont even understand my motives,” he complained. He scripted Columbine as made-for-TV murder, and his chief concern was that we would be too stupid to see the point. Fear was Eric’s ultimate weapon. He wanted to maximize the terror. He didn’t want kids to fear isolated events like a sporting event or a dance; he wanted them to fear their daily lives. It worked. Parents across the country were afraid to send their kids to school. Eric didn’t have the political agenda of a terrorist, but he had adopted terrorist tactics. Sociology professor Mark Juergensmeyer identified the central characteristic of terrorism as “performance violence.” Terrorists design events “to be spectacular in their viciousness and awesome in their destructive power. Such instances of exaggerated violence are constructed events: they are mind-numbing, mesmerizing theater.” The audience—for Timothy McVeigh, Eric Harris, or the Palestine Liberation Organization—was always miles away, watching on TV. Terrorists rarely settle for just shooting; that limits the damage to individuals. They prefer to blow up things—buildings, usually, and the smart ones choose carefully. “During that brief dramatic moment when a terrorist act levels a building or damages some entity that a society regards as central to its existence, the perpetrators of the act assert that they—and not the secular government—have ultimate control over that entity and its centrality,” Juergensmeyer wrote. He pointed out that during the same day as the first attack on the World Trade Center, in 1993, a deadlier attack was leveled against a coffee shop in Cairo. The attacks were presumably coordinated by the same group. The body count was worse in Egypt, yet the explosion was barely reported outside that country. “A coffeehouse is not the World Trade Center,” he explained. Most terrorists target symbols of the system they abhor—generally, iconic government buildings. Eric followed the same logic. He understood that the cornerstone of his plan was the explosives. When all his bombs fizzled, everything about his attack was misread. He didn’t just fail to top Timothy McVeigh’s record—he wasn’t even recognized for trying. He was never categorized with his peer group. We lumped him in with the pathetic loners who shot people.

When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone. My rapture was widely shared. Like many of my countrymen, I went out to buy the best liquors for a celebration with my family and friends, only to find the shops out of stock there was so much spontaneous rejoicing. There were official celebrations as well exactly the same kinds of rallies as during the Cultural Revolution, which infuriated me. I was particularly angered by the fact that in my department, the political supervisors and the student officials were now arranging the whole show, with unperturbed self-righteousness. The new leadership was headed by Mao's chosen successor, Hua Guofeng, whose only qualification, I believed, was his mediocrity. One of his first acts was to announce the construction of a huge mausoleum for Mao on Tiananmen Square. I was outraged: hundreds of thousands of people were still homeless after the earthquake in Tangshan, living in temporary shacks on the pavements. With her experience, my mother had immediately seen that a new era was beginning. On the day after Mao's death she had reported for work at her depas'uuent. She had been at home for five years, and now she wanted to put her energy to use again. She was given a job as the number seven deputy director in her department, of which she had been the director before the Cultural Revolution. But she did not mind. To me in my impatient mood, things seemed to go on as before. In January 1977, my university course came to an end. We were given neither examinations nor degrees. Although Mao and the Gang of Four were gone, Mao's rule that we had to return to where we had come from still applied. For me, this meant the machinery factory. The idea that a university education should make a difference to one's job had been condemned by Mao as 'training spiritual aristocrats.

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.

But hell can endure for only a limited period, and life will begin again one day. History may perhaps have an end; but our task is not to terminate it but to create it, in the image of what we henceforth know to be true. Art, at least, teaches us that man cannot be explained by history alone and that he also finds a reason for his existence in the order of nature. For him, the great god Pan is not dead. His most instinctive act of rebellion, while it affirms the value and the dignity common to all men, obstinately claims, so as to satisfy its hunger for unity, an integral part of the reality whose name is beauty. One can reject all history and yet accept the world of the sea and the stars. The rebels who wish to ignore nature and beauty are condemned to banish from history everything with which they want to construct the dignity of existence and of labor. Every great reformer tries to create in history what Shakespeare, Cervantes, Moliere, and Tolstoy knew how to create: a world always ready to satisfy the hunger for freedom and dignity which every man carries in his heart. Beauty, no doubt, does not make revolutions. But a day will come when revolutions will have need of beauty. The procedure of beauty, which is to contest reality while endowing it with unity, is also the procedure of rebellion. Is it possible eternally to reject injustice without ceasing to acclaim the nature of man and the beauty of the world? Our answer is yes. This ethic, at once unsubmissive and loyal, is in any event the only one that lights the way to a truly realistic revolution. In upholding beauty, we prepare the way for the day of regeneration when civilization will give first place—far ahead of the formal principles and degraded values of history—to this living virtue on which is founded the common dignity of man and the world he lives in, and which we must now define in the face of a world that insults it.

Frosh (2002) has suggested that therapeutic spaces provide children and adults with the rare opportunity to articulate experiences that are otherwise excluded from the dominant symbolic order. However, since the 1990s, post-modern and post-structural theory has often been deployed in ways that attempt to ‘manage’ from; afar the perturbing disclosures of abuse and trauma that arise in therapeutic spaces (Frosh 2002). Nowhere is this clearer than in relation to organised abuse, where the testimony of girls and women has been deconstructed as symptoms of cultural hysteria (Showalter 1997) and the colonisation of women’s minds by therapeutic discourse (Hacking 1995). However, behind words and discourse, ‘a real world and real lives do exist, howsoever we interpret, construct and recycle accounts of these by a variety of symbolic means’ (Stanley 1993: 214). Summit (1994: 5) once described organised abuse as a ‘subject of smoke and mirrors’, observing the ways in which it has persistently defied conceptualisation or explanation. Explanations for serious or sadistic child sex offending have typically rested on psychiatric concepts of ‘paedophilia’ or particular psychological categories that have limited utility for the study of the cultures of sexual abuse that emerge in the families or institutions in which organised abuse takes pace. For those clinicians and researchers who take organised abuse seriously, their reliance upon individualistic rather than sociological explanations for child sexual abuse has left them unable to explain the emergence of coordinated, and often sadistic, multi—perpetrator sexual abuse in a range of contexts around the world.

Every disciple is a believer, but not every believer is necessarily a disciple. Anything short of discipleship, however, is settling for less than what God really desires for us. Loving God more than anyone or anything else is the very foundation of being a disciple. If you want to live your Christian life to its fullest, then love Jesus more than anyone or anything else. Either you will have harmony with God and friction with people, or you will have harmony with people and friction with God. You become a disciple in the biblical sense only when you are totally and completely committed to Jesus Christ and His Word. As a true disciple, your life won’t only be characterized by practical results and a hunger for Scripture, but you also will have love for others — especially fellow believers. Without all of these characteristics, you can’t really claim to be His disciple. A person who has been with Jesus will boldly share his or her faith. A person who has been with Jesus will be a person of prayer. A person who has been with Jesus will be persecuted. If for you, the Christian life is all about feeling good and having everything go your way, then you won’t like being a disciple. Being a follower of Christ is the most joyful and exciting life there is. But it also can be the most challenging life there is. It’s a life lived out under the command of someone other than yourself. Most prayers are not answered because they are outside the will of God. Once we have discovered God’s will, we can then pray aggressively and confidently for it. We can pray, believing it will happen, because we know it is not something we have dreamed. A forgiven person will be a forgiving person. A true disciple will harbor no grudge toward another. The disciple knows it will hinder his or her prayer life and walk with God. It is far better to sit down for an hour and talk genuinely with one person than to rattle off trite clichés to scores of people. Attending more Bible studies, more prayer meetings, reading more Christian books, and listening to more teaching without an outlet for the truth will cause us to spiritually decay. We need to take what God has given us and use it constructively in the lives of others. You were placed on earth to know God. Everything else is secondary. The more we know God, the more we should want to make Him known to a lost world. Your life belongs to God. You don’t share your time and talents with Him; He shares them with you! He owns you and everything about you. You need to recognize and acknowledge that fact.

The case I’ve presented in this book suggests that humans are undergoing what biologists call a major transition. Such transitions occur when less complex forms of life combine in some way to give rise to more complex forms. Examples include the transition from independently replicating molecules to replicating packages called chromosomes or, the transition from different kinds of simple cells to more complex cells in which these once-distinct simple cell types came to perform critical functions and become entirely mutually interdependent, such as the nucleus and mitochondria in our own cells. Our species’ dependence on cumulative culture for survival, on living in cooperative groups, on alloparenting and a division of labor and information, and on our communicative repertoires mean that humans have begun to satisfy all the requirements for a major biological transition. Thus, we are literally the beginnings of a new kind of animal.1 By contrast, the wrong way to understand humans is to think that we are just a really smart, though somewhat less hairy, chimpanzee. This view is surprisingly common. Understanding how this major transition is occurring alters how we think about the origins of our species, about the reasons for our immense ecological success, and about the uniqueness of our place in nature. The insights generated alter our understandings of intelligence, faith, innovation, intergroup competition, cooperation, institutions, rituals, and the psychological differences between populations. Recognizing that we are a cultural species means that, even in the short run (when genes don’t have enough time to change), institutions, technologies, and languages are coevolving with psychological biases, cognitive abilities, emotional responses, and preferences. In the longer run, genes are evolving to adapt to these culturally constructed worlds, and this has been, and is now, the primary driver of human genetic evolution. Figure 17.1.

As long as there have been humans, we have searched for our place in the Cosmos. In the childhood of our species (when our ancestors gazed a little idly at the stars), among the Ionian scientists of ancient Greece, and in our own age, we have been transfixed by this question: Where are we? Who are we? We find that we live on an insignificant planet of a humdrum star lost between two spiral arms in the outskirts of a galaxy which is a member of a sparse cluster of galaxies, tucked away in some forgotten corner of a universe in which there are far more galaxies than people. This perspective is a courageous continuation of our penchant for constructing and testing mental models of the skies; the Sun as a red-hot stone, the stars as celestial flame, the Galaxy as the backbone of night. Since Aristarchus, every step in our quest has moved us farther from center stage in the cosmic drama. There has not been much time to assimilate these new findings. The discoveries of Shapley and Hubble were made within the lifetimes of many people still alive today. There are those who secretly deplore these great discoveries, who consider every step a demotion, who in their heart of hearts still pine for a universe whose center, focus and fulcrum is the Earth. But if we are to deal with the Cosmos we must first understand it, even if our hopes for some unearned preferential status are, in the process, contravened. Understanding where we live is an essential precondition for improving the neighborhood. Knowing what other neighborhoods are like also helps. If we long for our planet to be important, there is something we can do about it. We make our world significant by the courage of our questions and by the depth of our answers. We embarked on our cosmic voyage with a question first framed in the childhood of our species and in each generation asked anew with undiminished wonder: What are the stars? Exploration is in our nature. We began as wanderers, and we are wanderers still. We have lingered long enough on the shores of the cosmic ocean. We are ready at last to set sail for the stars.

As actor and comedian Lily Tomlin once said, “The road to success is always under construction.” So don’t allow yourself to be detoured from getting to your ONE Thing. Pave your way with the right people and place. BIG IDEAS Start saying “no.” Always remember that when you say yes to something, you’re saying no to everything else. It’s the essence of keeping a commitment. Start turning down other requests outright or saying, “No, for now” to distractions so that nothing detracts you from getting to your top priority. Learning to say no can and will liberate you. It’s how you’ll find the time for your ONE Thing. Accept chaos. Recognize that pursuing your ONE Thing moves other things to the back burner. Loose ends can feel like snares, creating tangles in your path. This kind of chaos is unavoidable. Make peace with it. Learn to deal with it. The success you have accomplishing your ONE Thing will continually prove you made the right decision. Manage your energy. Don’t sacrifice your health by trying to take on too much. Your body is an amazing machine, but it doesn’t come with a warranty, you can’t trade it in, and repairs can be costly. It’s important to manage your energy so you can do what you must do, achieve what you want to achieve, and live the life you want to live. Take ownership of your environment. Make sure that the people around you and your physical surroundings support your goals. The right people in your life and the right physical environment on your daily path will support your efforts to get to your ONE Thing. When both are in alignment with your ONE Thing, they will supply the optimism and physical lift you need to make your ONE Thing happen. Screenwriter Leo Rosten pulled everything together for us when he said, “I cannot believe that the purpose of life is to be happy. I think the purpose of life is to be useful, to be responsible, to be compassionate. It is, above all, to matter, to count, to stand for something, to have made some difference that you lived at all.” Live with Purpose, Live by Priority, and Live for Productivity. Follow these three for the same reason you make the three commitments and avoid the four thieves—because you want to leave your mark. You want your life to matter. 18

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.

All my life I have wondered about the possibility of life elsewhere. What would it be like? Of what would it be made? All living things on our planet are constructed of organic molecules—complex microscopic architectures in which the carbon atom plays a central role. There was once a time before life, when the Earth was barren and utterly desolate. Our world is now overflowing with life. How did it come about? How, in the absence of life, were carbon-based organic molecules made? How did the first living things arise? How did life evolve to produce beings as elaborate and complex as we, able to explore the mystery of our own origins? And on the countless other planets that may circle other suns, is there life also? Is extraterrestrial life, if it exists, based on the same organic molecules as life on Earth? Do the beings of other worlds look much like life on Earth? Or are they stunningly different—other adaptations to other environments? What else is possible? The nature of life on Earth and the search for life elsewhere are two sides of the same question—the search for who we are. In the great dark between the stars there are clouds of gas and dust and organic matter. Dozens of different kinds of organic molecules have been found there by radio telescopes. The abundance of these molecules suggests that the stuff of life is everywhere. Perhaps the origin and evolution of life is, given enough time, a cosmic inevitability. On some of the billions of planets in the Milky Way Galaxy, life may never arise. On others, it may arise and die out, or never evolve beyond its simplest forms. And on some small fraction of worlds there may develop intelligences and civilizations more advanced than our own. Occasionally someone remarks on what a lucky coincidence it is that the Earth is perfectly suitable for life—moderate temperatures, liquid water, oxygen atmosphere, and so on. But this is, at least in part, a confusion of cause and effect. We earthlings are supremely well adapted to the environment of the Earth because we grew up here. Those earlier forms of life that were not well adapted died. We are descended from the organisms that did well. Organisms that evolve on a quite different world will doubtless sing its praises too. All life on Earth is closely related. We have a common organic chemistry and a common evolutionary heritage. As a result, our biologists are profoundly limited. They study only a single kind of biology, one lonely theme in the music of life. Is this faint and reedy tune the only voice for thousands of light-years? Or is there a kind of cosmic fugue, with themes and counterpoints, dissonances and harmonies, a billion different voices playing the life music of the Galaxy? Let

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness – according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world. It has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse” Istanbul 2016

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.