Contemporary Inspirational Quotes

Always dream and shoot higher than you know you can do. Do not bother just to be better than your contemporaries or predecessors. Try to be better than yourself.

Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.

You are my heart now. Whatever happens to you happens to me.

I am Not, but the Universe is my Self.

Sometimes in life confusion tends to arise and only dialogue of dance seems to make sense.

Anyone can get a job, but do you have a purpose?

Be careful who you choose as your friends because their bad habits can become your bad habits. Choose wisely...we all have a choice in life.

An intelligent woman is a goldmine! She has the ability to learn, reason and understand things better and faster than her contemporaries. She is competent, alert and can reason out stuffs easily.

The more choices we have, the greater the need for focus.

A man should begin with his own times. He should become acquainted first of all with the world in which he is living and participating. He should not be afraid of reading too much or too little. He should take his reading as he does his food or his exercise. The good reader will gravitate to the good books. He will discover from his contemporaries what is inspiring or fecundating, or merely enjoyable, in past literature. He should have the pleasure of making these discoveries on his own, in his own way. What has worth, charm, beauty, wisdom, cannot be lost or forgotten. But things can lose all value, all charm and appeal, if one is dragged to them by the scalp.

I'm an invisible monster. I'm incapable of loving anybody. You don't know which is worse.

Caution not spirit, let it roam wild; for in that natural state dance embraces divine frequency.

If movements were a spark every dancer would desire to light up in flames.

Dance as the narration of a magical story; that recites on lips, illuminates imaginations and embraces the most sacred depths of souls.

If spirit is the seed, dance is the water of its evolution.

Dance is the timeless interpretation of life.

Show me a person who found love in his life and did not celebrate it with a dance.

I'm interested in the way in which the past affects the present and I think that if we understand a good deal more about history, we automatically understand a great more about contemporary life.

Om is the things, Om is the ingredient, Om is the container and the content of this universe.

If you opened the dictionary and searched for the meaning of a Goddess, you would find the reflection of a dancing lady.

Don't breathe to survive; dance and feel alive.

Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.

His words made me aware that the heart in my chest is a muscle like any other. It can hurt.

Life is an affair of mystery; shared with companions of music, dance and poetry.

Poetry empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.

You are the author of your life. So please don’t let anyone including yourself make you think otherwise. If you feel like you don’t like how your story goes, just write it differently. You have the tools, the courage, the power…you have it all!

Most of us cherish freedom, but when we actually get the opportunity to make our own way it can be terrifying.

Dance to inspire, dance to freedom, life is about experiences so dance and let yourself become free.

Through synergy of intellect, artistry and grace came into existence the blessing of a dancer.

DANCE – Defeat All Negativity (via) Creative Expression.

I love you when you’re happy. I love you when you’re sad. I love you if you’re angry, And I love you if you’re bad. No matter how you feel, I love you all the time. Oh my sweet, dear baby, I love you all the time.

Om is that God of love. Like a loving mother Om cleans us of our clutters collected through many incarnations.

She who is a dancer can only sway the silk of her hair like the summer breeze.

How are you coming with your home library? Do you need some good ammunition on why it's so important to read? The last time I checked the statistics...I think they indicated that only four percent of the adults in this country have bought a book within the past year. That's dangerous. It's extremely important that we keep ourselves in the top five or six percent. In one of the Monthly Letters from the Royal Bank of Canada it was pointed out that reading good books is not something to be indulged in as a luxury. It is a necessity for anyone who intends to give his life and work a touch of quality. The most real wealth is not what we put into our piggy banks but what we develop in our heads. Books instruct us without anger, threats and harsh discipline. They do not sneer at our ignorance or grumble at our mistakes. They ask only that we spend some time in the company of greatness so that we may absorb some of its attributes. You do not read a book for the book's sake, but for your own. You may read because in your high-pressure life, studded with problems and emergencies, you need periods of relief and yet recognize that peace of mind does not mean numbness of mind. You may read because you never had an opportunity to go to college, and books give you a chance to get something you missed. You may read because your job is routine, and books give you a feeling of depth in life. You may read because you did go to college. You may read because you see social, economic and philosophical problems which need solution, and you believe that the best thinking of all past ages may be useful in your age, too. You may read because you are tired of the shallowness of contemporary life, bored by the current conversational commonplaces, and wearied of shop talk and gossip about people. Whatever your dominant personal reason, you will find that reading gives knowledge, creative power, satisfaction and relaxation. It cultivates your mind by calling its faculties into exercise. Books are a source of pleasure - the purest and the most lasting. They enhance your sensation of the interestingness of life. Reading them is not a violent pleasure like the gross enjoyment of an uncultivated mind, but a subtle delight. Reading dispels prejudices which hem our minds within narrow spaces. One of the things that will surprise you as you read good books from all over the world and from all times of man is that human nature is much the same today as it has been ever since writing began to tell us about it. Some people act as if it were demeaning to their manhood to wish to be well-read but you can no more be a healthy person mentally without reading substantial books than you can be a vigorous person physically without eating solid food. Books should be chosen, not for their freedom from evil, but for their possession of good. Dr. Johnson said: "Whilst you stand deliberating which book your son shall read first, another boy has read both.

I’m looking to make a miracle

Dance is the ritual of immortality.

One step, two steps, three steps; like winds of time experience joy of centuries, when movements become revelations of the dance of destinies.

Those whose acquaintance with scientific research is derived chiefly from its practical results easily develop a completely false notion of the mentality of the men who, surrounded by a skeptical world, have shown the way to kindred spirits scattered wide through the world and through the centuries. Only one who has devoted his life to similar ends can have a vivid realization of what has inspired these men and given them the strength to remain true to their purpose in spite of countless failures. It is cosmic religious feeling that gives a man such strength. A contemporary has said, not unjustly, that in this materialistic age of ours the serious scientific workers are the only profoundly religious people.

A nation forgetting its own laughter is in a sad state of affairs

In modern times couples are more concerned about loyalty than love.

Ninety-nine percent talent…ninety-nine percent discipline…ninety-nine percent work. He must never be satisfied with what he does. It is never as good as it can be done. Always dream and shoot higher than you know you can do. Don’t bother just to be better than your contemporaries or predecessors. Try to be better than yourself. An artist is a creature driven by demons. He doesn’t know why they choose him and he’s usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done.

Just close your eyes and fall. Fall backwards in your mind and tell me who you see catching you. Is it him... or is it me?

How can I expect to get anything done around here with you touching me like that?

You don't just become something in life. You evolve and grow; otherwise you get bored and remain stagnant.

There's no better way to get to know a person than through their art.

So, we live. As hard as we can for as long as we can, and we feel everything, because if it doesn't kill us, something will.

Loving someone wasn't about their perfection. It was about coming to accept every part of them, their good qualities at their weaknesses and flaws--looking on everything they were and loving it all. As she looked on everything Jake was, right down to his center, she loved him.

When we share in each other's grief and pain, we lighten it. Or maybe we just give each other permission to feel it fully and, through that act of acceptance, the grief becomes more bearable. Because, like the rain, tears too have an end. And with deep emotions, we are open to each other in unexpected ways.

Burdened no more is soul for whom life flows through dance and not breath.

Dance is that delicacy of life radiating every particle of our existence with happiness.

Your mind is your bitch,” he says. “The truth is you can teach it to do anything. You have to program your brain to your commands, not other people’s.

there is found a third level of religious experience, even if it is seldom found in a pure form. I will call it the cosmic religious sense. This is hard to make clear to those who do not experience it, since it does not involve an anthropomorphic idea of God; the individual feels the vanity of human desires and aims, and the nobility and marvelous order which are revealed in nature and in the world of thought. He feels the individual destiny as an imprisonment and seeks to experience the totality of existence as a unity full of significance. Indications of this cosmic religious sense can be found even on earlier levels of development—for example, in the Psalms of David and in the Prophets. The cosmic element is much stronger in Buddhism, as, in particular, Schopenhauer's magnificent essays have shown us. The religious geniuses of all times have been distinguished by this cosmic religious sense, which recognizes neither dogmas nor God made in man's image. Consequently there cannot be a church whose chief doctrines are based on the cosmic religious experience. It comes about, therefore, that we find precisely among the heretics of all ages men who were inspired by this highest religious experience; often they appeared to their contemporaries as atheists, but sometimes also as saints.

Perhaps the cause of our contemporary pessimism is our tendency to view history as a turbulent stream of conflicts – between individuals in economic life, between groups in politics, between creeds in religion, between states in war. This is the more dramatic side of history; it captures the eye of the historian and the interest of the reader. But if we turn from that Mississippi of strife, hot with hate and dark with blood, to look upon the banks of the stream, we find quieter but more inspiring scenes: women rearing children, men building homes, peasants drawing food from the soil, artisans making the conveniences of life, statesmen sometimes organizing peace instead of war, teachers forming savages into citizens, musicians taming our hearts with harmony and rhythm, scientists patiently accumulating knowledge, philosophers groping for truth, saints suggesting the wisdom of love. History has been too often a picture of the bloody stream. The history of civilization is a record of what happened on the banks.

We Japanese, on the other hand, know our egos are nothing. We bend our egos, all of the time, and that is where we differ. That is the fundamental difference, Hatsue. We bend our heads, we bow and are silent, because we understand that by ourselves alone, we are nothing at all, dust in a strong wind, while the 'hakujin' believes his aloneness is everything, his separateness is the foundation of his existence. He seeks and grasps, seeks and grasps for his separateness, while we seek union with the Greater Life--you must see that these are distinct paths we are travelling, Hatsue, the 'hakujin' and we Japanese" (p. 176).

Nothing ever happens like you imagine it will," she says. The sky is like a monochromatic contemporary painting, drawing me in with its illusion of depth, pulling me up. "Yeah, that's true," I say. But then after I think about it for a second, I add, "But then again, if you don't imagine, nothing ever happens at all.

Contemporary fantasists all bow politely to Lord Tennyson and Papa Tolkien, then step around them to go back to the original texts for inspiration--and there are a lot of those texts. We have King Arthur and his gang in English; we've got Siegfried and Brunhild in German; Charlemagne and Roland in French; El Cid in Spanish; Sigurd the Volsung in Icelandic; and assorted 'myghtiest Knights on lyfe' in a half-dozen other cultures. Without shame, we pillage medieval romance for all we're worth.

He'd sacrifice even his sanity for her. If it came down to it, he'd let her break his heart. Because he loved her.

Pruned my subconscious. Discovered new shoots.

In order for things to work out, God had to be at the forefront.

Transcend the terrestrial; surpass the celestial, from nature’s hands when you receive the sublime pleasures of dance.

Lovemaking is more than sex, it's a connecting of hearts, meeting of minds, & touching of souls." ~ Dr. Scott Hensley

We can't predict what's going to happen, but having love is worth the risk.

Listen kiddo, by the time you grow up you'll have collected a whole lot of this 'dirt of life' stuff, right, you won't know where it's coming from but it'll pile up, and clothes and pearls won't look as beautiful to you as they do now -- that's for sure. The problem is that dirt, see? You can't ever settle down in one place, you've got to live like you're always, always staring way off into the distance.

Love is a risk. It always is. None of us is guaranteed a long life. But love takes courage.

When a dancer performs, melody transforms into a carriage, expressions turn into fuel and spirit experiences a journey to a world where passion attains fulfillment.

Poetry is not an art, it's a symptom.

You don't need to live in a mansion to be happy. All you need is to create the right space, something that says this is who you are, and you can always change who you are, just as you change your environment.

But she hadn't chosen me. She was never going to. And it didn't matter how caring I was, or how much effort I put into my hair and makeup, or how much time I put in. It was me, as I was, that wasn't doing it for her. There wasn't anything I could do to change that. And that made me feel like there was something inherently not good enough about me.

The claims of contemporary art cannot be ignored in any vital scheme of life. The art of to-day is that which really belongs to us: it is our own reflection. In condemning it we but condemn ourselves. We say that the present age possesses no art:—who is responsible for this? It is indeed a shame that despite all our rhapsodies about the ancients we pay so little attention to our own possibilities. Struggling artists, weary souls lingering in the shadow of cold disdain! In our self- centered century, what inspiration do we offer them? The past may well look with pity at the poverty of our civilisation; the future will laugh at the barrenness of our art. We are destroying the beautiful in life.

Within sixty-minute limits or one-hundred-yard limits or the limits of a game board, we can look for perfect moments or perfect structures. In my fiction I think this search sometimes turns out to be a cruel delusion. No optimism, no pessimism. No homesickness for lost values or for the way fiction used to be written. Everybody seems to know everything. Subjects surface and are totally exhausted in a matter of days or weeks, totally played out by the publishing industry and the broadcast industry. Nothing is too arcane to escape the treatment, the process. Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market. The writer is the person who stands outside society, independent of affiliation and independent of influence. The writer is the man or woman who automatically takes a stance against his or her government. There are so many temptations for American writers to become part of the system and part of the structure that now, more than ever, we have to resist. American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. That’s why so many of them are in jail. Some people prefer to believe in conspiracy because they are made anxious by random acts. Believing in conspiracy is almost comforting because, in a sense, a conspiracy is a story we tell each other to ward off the dread of chaotic and random acts. Conspiracy offers coherence. I see contemporary violence as a kind of sardonic response to the promise of consumer fulfillment in America... I see this desperation against the backdrop of brightly colored packages and products and consumer happiness and every promise that American life makes day by day and minute by minute everywhere we go. Discarded pages mark the physical dimensions of a writer’s labor. Film allows us to examine ourselves in ways earlier societies could not—examine ourselves, imitate ourselves, extend ourselves, reshape our reality. It permeates our lives, this double vision, and also detaches us, turns some of us into actors doing walk-throughs. Every new novel stretches the term of the contract—let me live long enough to do one more book. You become a serious novelist by living long enough.

Rachael could see the lavender fields from where they sat at the kitchen table. They stretched in a purple haze over the landscape, the bright sunshine washing over them. The mauve complimented the blue-grey of the Australian bush in the far distance.

Stumbling closer, I held up the manuscript, the pages flapping frantically in the wind. “I take it this is a murder mystery? You killed the ex-fiancée and thanked her in the dedication? Mighty dignified of you, I must say.” “Nah. It’s a horror novel. But yeah, the bimbo dies in the end. Bob Hall says it’s going to be a bestseller, so I figured I owed her some thanks for the inspiration.” He edged a few feet closer, his smile spread from ear to ear. The glimmer in his eyes flickered toward the ocean, breaking our connection. He hung his head, licked his lips, then returned his eyes to mine, restoring the connection with an intense smolder. “Are you gonna get over here, or what?” Letting out a soft chuckle, the tears began to blind me. “Make me.

He wanted desperately to stay, just a little while longer. But he couldn't be here, in this place, with her. It was calm here. She was innocent and beautiful and perfect. He was not. He didn't want his mess or his mental illness or his past anywhere near her. He wanted to protect her from a lot of things, but most of all from himself.

Burdened no more is soul for whom life flows through dance like breath.

Make dance the mission every moment seeks to accomplish.

But no matter what happens, I spoke up, made a voice for myself, freed from the haunting memories that have owned me for the last six years. I found my courage.

I've always been 15 to 20 years ahead. As one of the first publishers to publish digitally in 2000 to become a digital publishing pioneer, before the Kindle and the height of digital book publishing in 2012-2015; I had digital books published, was one of the first on Amazon as an independent publisher, and became a beta for them years later. 20 Years before streaming networks like Amazon Prime, Netflix, and Hulu became the giants that they are in streaming; I envisioned a digital library of films and videos (even wrote about one in a scenario in my contemporary fiction book Loving Summer years later), which now became a form of streaming on-demand video today. This all comes from vision, being able to see far ahead through imagination as well as real evidence. When you can see this; you are truly blessed and gifted." Kailin Gow, Futurist, STEM Books Bestselling Award-winning Author and Publisher

…imagine that the earth—four thousand six hundred million years old—[were] a forty-six-year-old woman…. It had taken the whole of the Earth Woman’s life for the earth to become what it was. For the oceans to part. For the mountains to rise. The Earth Woman was eleven years old…when the first single-celled organisms appeared. The first animals, creatures like worms and jellyfish, appeared only when she was forty. She was over forty-five—just eight months ago—when dinosaurs roamed the earth. The whole of human civilization as we know it began only two hours ago in the Earth Woman’s life…. It was an awe-inspiring and humbling thought…that the whole of contemporary history, the World Wars, the War of Dreams, the Man on the Moon, science, literature, philosophy, the pursuit of knowledge—was no more than a blink of the Earth Woman’s eye.

Clearly, women in active fighting zones unsettled their contemporaries, but they still left a legacy behind. Girls of the ’30s and ’40s joined the SOE to train as spies against the Nazis because they had been inspired by books and stories about women like Louise de Bettignies—and they weren’t inspired by her feminine graces. They were inspired by her courage, her toughness, and her unflinching drive, just as I imagined Charlie being inspired by Eve’s. Such women were fleurs du mal indeed—with steel, with endurance, and with flair, they thrived in evil and inspired others in doing so.

Feminists believe that women should be protected from certain aspects of public life, including speech..... Feminists do not want to engage in aspects of life they disagree with. Instead, they want to silence what they don’t like through censorship and criminalisation. Feminists believe that women need protection from words. Finally, contemporary feminists do not believe that women are independent, free-thinking individuals. Feminists promote a cliquey, sisterhood mentality, but not through a collective and positive sharing of ideas. They’re the kind of group you’d encounter at school who would shun you if you weren’t wearing the right kind of hairband. Today’s feminism is opposed to criticism and nuance, refusing to allow women to form their own opinions or challenge preconceived ideas.

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

The primary leaders of the so-called founding fathers of our nation were not Bible-believing Christians; they were deists. Deism was a philosophical belief that was widely accepted by the colonial intelligentsia at the time of the American Revolution. Its major tenets included belief in human reason as a reliable means of solving social and political problems and belief in a supreme deity who created the universe to operate solely by natural laws. The supreme God of the Deists removed himself entirely from the universe after creating it. They believed that he assumed no control over it, exerted no influence on natural phenomena, and gave no supernatural revelation to man. A necessary consequence of these beliefs was a rejection of many doctrines central to the Christian religion. Deists did not believe in the virgin birth, divinity, or resurrection of Jesus, the efficacy of prayer, the miracles of the Bible, or even the divine inspiration of the Bible. These beliefs were forcefully articulated by Thomas Paine in Age of Reason, a book that so outraged his contemporaries that he died rejected and despised by the nation that had once revered him as 'the father of the American Revolution.'... Other important founding fathers who espoused Deism were George Washington, Thomas Jefferson, Benjamin Franklin, Ethan Allen, James Madison, and James Monroe. [The Christian Nation Myth, 1999]

When Willow took the long view of her dad's story, she could see plainly how God had taken her dad's failures and sorrows and created something beautiful out of them. Why was it so hard for her to accept that God could do the same for her? Was her faith too small? Or was her regret too big? Perhaps her regret was so big that it had kept her faith small these past four years.

If there really was one true god, it should be a singular composite of every religion’s gods, an uber-galactic super-genius, and the ultimate entity of the entire cosmos. If a being of that magnitude ever wrote a book, then there would only be one such document; one book of God. It would be dominant everywhere in the world with no predecessors or parallels or alternatives in any language, because mere human authors couldn’t possibly compete with it. And you wouldn’t need faith to believe it, because it would be consistent with all evidence and demonstrably true, revealing profound morality and wisdom far beyond contemporary human capacity. It would invariably inspire a unity of common belief for every reader. If God wrote it, we could expect no less. But what we see instead is the very opposite of that.

I do not write every day. I write to the questions and issues before me. I write to deadlines. I write out of my passions. And I write to make peace with my own contradictory nature. For me, writing is a spiritual practice. A small bowl of water sits on my desk, a reminder that even if nothing is happening on the page, something is happening in the room--evaporation. And I always light a candle when I begin to write, a reminder that I have now entered another realm, call it the realm of the Spirit. I am mindful that when one writes, one leaves this world and enters another. My books are collages made from journals, research, and personal experience. I love the images rendered in journal entries, the immediacy that is captured on the page, the handwritten notes. I love the depth of ideas and perspective that research brings to a story, be it biological or anthropological studies or the insights brought to the page by the scholarly work of art historians. When I go into a library, I feel like I am a sleuth looking to solve a mystery. I am completely inspired by the pursuit of knowledge through various references. I read newpapers voraciously. I love what newspapers say about contemporary culture. And then you go back to your own perceptions, your own words, and weigh them against all you have brought together. I am interested in the kaleidoscope of ideas, how you bring many strands of thought into a book and weave them together as one piece of coherent fabric, while at the same time trying to create beautiful language in the service of the story. This is the blood work of the writer. Writing is also about a life engaged. And so, for me, community work, working in the schools or with grassroots conservation organizations is another critical component of my life as a writer. I cannot separate the writing life from a spiritual life, from a life as a teacher or activist or my life intertwined with family and the responsibilities we carry within our own homes. Writing is daring to feel what nurtures and breaks our hearts. Bearing witness is its own form of advocacy. It is a dance with pain and beauty.

First, I’d like to point out that I didn’t use ‘one of mine.’ You refused to let me pay for my ice cream cone with a good ol’ fashioned credit card, and you forced your pretend money on me. Secondly, I can’t take any currency seriously that looks like it belongs in a psychedelic-inspired Special Edition Monopoly box.

In reading Western science fiction, Chinese readers discover the fears and hopes of Man, the modern Prometheus, for his destiny, which is also his own creation. Perhaps Western readers can also read Chinese science fiction and experience an alternative Chinese modernity and be inspired to imagine an alternative future.

Hiding had been effortless in New York City. Getting lost in a sea of people was as easy as stepping onto a crowded Subway car. Sweet Laurel Cove would be very different. Generations of families filled its church pews, ran its farms, and schooled its children. Anonymity was as rare as lightning bugs in wintertime—as her grandmother would say.

Even the great Thomas Paine, a friend to Franklin and Jefferson, repudiated the charge of atheism that he was not afraid to invite. Indeed, he set out to expose the crimes and horrors of the Old Testament, as well as the foolish myths of the New, as part of a vindication of god. No grand and noble deity, he asserted, should have such atrocities and stupidities laid to his charge. Paine’s Age of Reason marks almost the first time that frank contempt for organized religion was openly expressed. It had a tremendous worldwide effect. His American friends and contemporaries, partly inspired by him to declare independence from the Hanoverian usurpers and their private Anglican Church, meanwhile achieved an extraordinary and unprecedented thing: the writing of a democratic and republican constitution that made no mention of god and that mentioned religion only when guaranteeing that it would always be separated from the state.

Ignorance has never been the problem. The problem was and continues to be unexamined confidence in western civilization and the unwarranted certainty of Christianity. And arrogance. Perhaps it is unfair to judge the past by the present, but it is also necessary. If nothing else, an examination of the past—and of the present, for that matter—can be instructive. It shows us that there is little shelter and little gain for Native peoples in doing nothing. So long as we possess one element of sovereignty, so long as we possess one parcel of land, North America will come for us, and the question we have to face is how badly we wish to continue to pursue the concepts of sovereignty and self-determination. How important is it for us to maintain protected communal homelands? Are our traditions and languages worth the cost of carrying on the fight? Certainly the easier and more expedient option is simply to step away from who we are and who we wish to be, sell what we have for cash, and sink into the stewpot of North America. With the rest of the bones. No matter how you frame Native history, the one inescapable constant is that Native people in North America have lost much. We’ve given away a great deal, we’ve had a great deal taken from us, and, if we are not careful, we will continue to lose parts of ourselves—as Indians, as Cree, as Blackfoot, as Navajo, as Inuit—with each generation. But this need not happen. Native cultures aren’t static. They’re dynamic, adaptive, and flexible, and for many of us, the modern variations of older tribal traditions continue to provide order, satisfaction, identity, and value in our lives. More than that, in the five hundred years of European occupation, Native cultures have already proven themselves to be remarkably tenacious and resilient. Okay. That was heroic and uncomfortably inspirational, wasn’t it? Poignant, even. You can almost hear the trumpets and the violins. And that kind of romance is not what we need. It serves no one, and the cost to maintain it is too high. So, let’s agree that Indians are not special. We’re not … mystical. I’m fine with that. Yes, a great many Native people have a long-standing relationship with the natural world. But that relationship is equally available to non-Natives, should they choose to embrace it. The fact of Native existence is that we live modern lives informed by traditional values and contemporary realities and that we wish to live those lives on our terms.

[T]he incomparable Diana Wynne Jones, one of the finest mythic fiction writers of our age, who left us too early (due to cancer) two days ago. I'm so grateful to her for the extraordinary books she has left behind, which have inspired a whole generation of younger writers. She was writing brilliant YA fantasy before the genre (as we know it now) even existed; she was writing enchanting "wizard school" books long before Harry Potter was a gleam in Rowling's eye; and her knowledge of how to weave mythic/folkloric themes into contemporary fiction was second to no one's. Diana will be terribly missed, but through her magical stories, her light will stay on.

Observe this beautiful fact: By bringing us into communion with God, prayer makes us share in God’s creativity. Contemplation nourishes our creative faculties and our inventiveness, particularly in the realm of beauty. Contemporary art is cruelly lacking in inspiration and very often produces nothing but painful ugliness, when people are so thirsty for beauty. Only a renewal of faith and prayer will enable artists to rediscover the sources of true creativity, so that they will once again be able to provide people with the beauty they so badly need, as was done by Fra Angelico, Rembrandt, or Johann Sebastian Bach. 5.

...I maintain that cosmic religiousness is the strongest and most noble driving force of scientific research. Only the man who can conceive the gigantic effort and above all the devotion, without which original scientific thought cannot succeed, can measure the strength of the feeling from which alone such work...can grow. What a deep belief in the intelligence of Creation and what longing for understanding, even if only of a meagre reflection in the revealed intelligence of this world, must have flourished in Kepler and Newton, enabling them as lonely men to unravel over years of work the mechanism of celestial mechanics....Only the man who devotes his life to such goals has a living conception of what inspired these men and gave them strength to remain steadfast in their aims in spite of countless failures. It is cosmic religiousness that bestows such strength. A contemporary has said, not unrightly, that the serious research scholar in our generally materialistic age is the only deeply religious human being.

It was an awe-inspiring and humbling thought, Chacko said (Humbling was a nice word, Rahel thought. Humbling along without a care in the world), that the whole of contemporary history, the World Wars, the War of Dreams, the Man on the Moon, science, literature, philosophy, the pursuit of knowledge- was no more than a blink of the Earth Woman's eye. "And we, my dears, everything we are and ever will be are just a twinkle in her eye," Chacko said grandly, lying on his bed, staring at the ceiling. [...] Later, in the light of all that happened, twinkle seemed completely the wrong word to describe the expression in the Earth Woman's eye. Twinkle was a word with crinkled, happy edges.

Historical writing, which had begun to keep a continuous record of the present, now also cast a glance back to the past, gathered traditions and legends, interpreted the traces of antiquity that survived in customs and usages, and in this way created a history of the past. It was inevitable that this early history should have been an expression of present beliefs and wishes rather than a true picture of the past; for many things had been dropped from the nation's memory, while others were distorted, and some remains of the past were given a wrong interpretation in order to fit in with contemporary ideas. Moreover people's motive for writing history was not objective curiosity but a desire to influence their contemporaries, to encourage and inspire them, or to hold a mirror up before them. A man's conscious memory of the events of his maturity is in every way comparable to the first kind of historical writing [which was a chronicle of current events]; while the memories that he has of his childhood correspond, as far as their origins and reliability are concerned, to the history of a nation's earliest days, which was compiled later and for tendentious reasons.

In 2003, Meryl Streep won a career achievement César Award, the French equivalent of an Oscar. Streep’s words (my translation) acknowledged the enduring interest of French audiences in women’s lives and women’s stories: "I have always wanted to present stories of women who are rather difficult. Difficult to love, difficult to understand, difficult to look at sometimes. I am very cognizant that the French public is receptive to these complex and contradictory women. As an actress I have understood for a long time that lies are simple, seductive and often easy to pass off. But the truth—the truth is always very very very complicated, often unpleasant, nuanced or difficult to accept." In France, an actress can work steadily from her teens through old age—she can start out in stories of youthful rebellion and end up, fifty years later, a screen matriarch. And in the process, her career will end up telling the story of a life—her own life, in a sense, with the films serving, as Valeria Bruni Tedeschi puts it, as a “journal intime,” or diary, of one woman’s emotions and growth. No wonder so many French actresses are beautiful. They’re radiant with living in a cinematic culture that values them, and values them as women. And they are radiant with living in a culture—albeit one with flaws of its own—in which women are half of who decides what gets valued in the first place. Their films transcend national and language barriers and are the best vehicles for conveying the depth and range of women’s experience in our era. The gift they give us, so absent in our own movies, is a vision of life that values emotional truth, personal freedom and dignity above all and that favors complexity over simplicity, the human over the machine, maturity over callowness, true mysteries over false explanations and an awareness of mortality over a life lived in denial. In the luminous humanity of their faces and in the illuminated humanity of their characters, we discover in these actresses something much more inspiring than the blank perfection and perfect blankness of the Hollywood starlet. We discover the beauty of the real.

The wu in wuxia means both “to cut” and “to stop.” It also refers to the weapon—usually a sword—carried by the assassin, the hero of the story. The genre became very popular during the Song Dynasty [960–1279]. These stories often depicted a soldier in revolt, usually against a corrupt political leader. In order to stop corruption and the killing of innocent people, the hero must become an assassin. So wuxia stories are concerned with the premise of ending violence with violence. Although their actions are motivated by political reasons, the hero’s journey is epic and transformative—physically, emotionally, and spiritually. In the Tang Dynasty, a prominent poet named Li Bai wrote some verses about an assassin. This is the earliest example I know of wuxia literature. Gradually, the genre gave shape to ideas and stories that had been percolating in historical and mythological spheres. Although these stories were often inspired by real events of the past, to me they feel very contemporary and relevant. It’s one of the oldest genres in Chinese literature, and there are countless wuxia novels today. I began to immerse myself in these novels when I was in elementary school, and they quickly became my favorite things to read. I started with newer books and worked my way back to the earliest writing from the Tang Dynasty.

Idealism, particularly idealism of a cultural or artistic kind, has become such a rare phenomenon in the contemporary world that it may often be hard for us to feel our way into the spiritual background of much of the art, music, and literature that burst upon an unsuspecting European public in the last years of the 19th century and the early years of the 20th. It has become fashionable to suppose that what we have come to term variously “modern art”, “modern music”, or simply “modernism” took its origins in some collective artistic rejection of the styles and norms of the past, and in an adoption of a sceptical and anti-idealistic world view. While it is true that the “iconoclastic” movements of expressionism, futurism, dada, and early surrealism relied for much of their public impact on shock-tactics and a philosophy of ‘making it new’, a close study of their artistic programmes shows that their primary concern was less the destruction of the past than the reinterpretation of both past and present in terms of a visionary future, a hoped-for world in which the artist, like some divinely inspired child, would endow mankind with a new innocence, exorcising from it the demons of war, revolution, technology, and social organisation. Such a transformed humanity would be a worthy successor to the mankind of previous ages

The idea of progress is contemporary with the age of enlightenment and with the bourgeois revolution. Of course, certain sources of its inspiration can be found in the seventeenth century; the quarrel between the Ancients and the Moderns already introduced into European ideology the perfectly absurd conception of an artistic form of progress. In a more serious fashion, the idea of a science that steadily increases its conquests can also be derived from Cartesian philosophy. But Turgot, in 1750, is the first person to give a clear definition of the new faith. His treatise on the progress of the human mind basically recapitulates Bossuet's universal history. The idea of progress alone is substituted for the divine will. "The total mass of the human race, by alternating stages of calm and agitation, of good and evil, always marches, though with dragging footsteps, toward greater and greater perfection." This optimistic statement will furnish the basic ingredient of the rhetorical observations of Condorcet, the official theorist of progress, which he linked with the progress of the State and of which he was also the official victim in that the enlightened State forced him to poison himself. Sorel was perfectly correct in saying that the philosophy of progress was exactly the philosophy to suit a society eager to enjoy the material prosperity derived from technical progress. When we are assured that tomorrow, in the natural order of events, will be better than today, we can enjoy ourselves in peace. Progress, paradoxically, can be used to justify conservatism. A draft drawn on confidence in the future, it allows the master to have a clear conscience. The slave and those whose present life is miserable and who can find no consolation in the heavens are assured that at least the future belongs to them. The future is the only kind of property that the masters willingly concede to the slaves.

I’m really enjoying my solitude after feeling trapped by my family, friends and boyfriend. Just then I feel like making a resolution. A new year began six months ago but I feel like the time for change is now. No more whining about my pathetic life. I am going to change my life this very minute. Feeling as empowered as I felt when I read The Secret, I turn to reenter the hall. I know what I’ll do! Instead of listing all the things I’m going to do from this moment on, I’m going to list all the things I’m never going to do! I’ve always been unconventional (too unconventional if you ask my parents but I’ll save that account for later). I mentally begin to make my list of nevers. -I am never going to marry for money like Natasha just did. -I am never going to doubt my abilities again. -I am never going to… as I try to decide exactly what to resolve I spot an older lady wearing a bright red velvet churidar kurta. Yuck! I immediately know what my next resolution will be; I will never wear velvet. Even if it does become the most fashionable fabric ever (a highly unlikely phenomenon) I am quite enjoying my resolution making and am deciding what to resolve next when I notice Az and Raghav holding hands and smiling at each other. In that moment I know what my biggest resolve should be. -I will never have feelings for my best friend’s boyfriend. Or for any friend’s boyfriend, for that matter. That’s four resolutions down. Six more to go? Why not? It is 2012, after all. If the world really does end this year, at least I’ll go down knowing I completed ten resolutions. I don’t need to look too far to find my next resolution. Standing a few centimetres away, looking extremely uncomfortable as Rags and Az get more oblivious of his existence, is Deepak. -I will never stay in a relationship with someone I don’t love, I vow. Looking for inspiration for my next five resolutions, I try to observe everyone in the room. What catches my eye next is my cousin Mishka giggling uncontrollably while failing miserably at walking in a straight line. Why do people get completely trashed in public? It’s just so embarrassing and totally not worth it when you’re nursing a hangover the next day. I recoil as memories of a not so long ago night come rushing back to me. I still don’t know exactly what happened that night but the fragments that I do remember go something like this; dropping my Blackberry in the loo, picking it up and wiping it with my new Mango dress, falling flat on my face in the middle of the club twice, breaking my Nine West heels, kissing an ugly stranger (Az insists he was a drug dealer but I think she just says that to freak me out) at the bar and throwing up on the Bandra-Worli sea link from Az’s car. -I will never put myself in an embarrassing situation like that again. Ever. I usually vow to never drink so much when I’m lying in bed with a hangover the next day (just like 99% of the world) but this time I’m going to stick to my resolution. What should my next resolution be?