Contract Writing Quotes

Be a worthy worker and work will come.

To those who care about punctuation, a sentence such as "Thank God its Friday" (without the apostrophe) rouses feelings not only of despair but of violence. The confusion of the possessive "its" (no apostrophe) with the contractive "it's" (with apostrophe) is an unequivocal signal of illiteracy and sets off a Pavlovian "kill" response in the average stickler.

I contracted a disease which I have never shaken off. The disease was idealism. Because of it, I did the thing in life I wanted to do - Writing.

Initially, I feel expansive when I try something new, and then contract as soon as I encounter difficulty or the unknown. I am learning to experiment with my tolerance of difficulty and the not knowing, in order to go further with my creative dreams. Whenever I experience contraction, I explore it by asking, "Where did I stop and why?" Building a creative dream life is not just about achieving, succeeding, or "meeting goals." It is also about floundering, stumbling, tripping and failing.

Lara Jean and Peter's amended contract *Peter will write a letter to Lara Jean once a week. A real handwritten letter, not an e-mail. *Lara Jean will call Peter once a day. Preferably the last call of the night, befero she goes to bed. *Lara Jean will put up a picture of Peter's choosing on her wall. *Peter will keep the scrapbook out on his desk so any interested parties will see tha he is taken. *Peter and Lara Jean will always tell each other te truth, even when it's hard. *Peter will love Lara Jean with all his heart, always.

I write the way I do because some women don't want red roses and champagne--they need black roses and knives.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

Whatever happened in those more than one hundred years, from the time my great-great-great grandfather studied law to the time when my own father took his bar exam in 1989, I may never know. Perhaps it was just greed and the good, old-fashion corruption that comes with power. The Drexlers have moved from the fight for human rights to the fight for corporations and wealthy individuals. We file their taxes, write their contracts, clean up their messes. As I see it, we have become little more than glorified Public Relations reps

To the people who insist they really do have a great idea but they just can't write, I'd say that given some of the books I've read, or at least started to read, it would appear that not being able to write is absolutely no obstacle whatsoever to writing a book and securing a publishing contract. Though becoming famous in some other field first may help.

A professional who doesn't deliver as committed is not just lazy, he is a liar.

She walks to the white board and wheels it round to face him. She writes ‘Motive’ and ‘Suspects’ at the top of the board. She doesn’t turn to look at him but knows his eyes are burning.

Is it possible to write a reverent novel,” said Nassrin, “and to have it be good? Besides, the contract with the reader is that this is not reality, it’s an invented world. There must be some blasted space in life,” she added crossly, “where we can be offensive, for God’s sake.

My heart races and I look away. “Well I care. So, write it down. For nine weekends and eight thousand dollars, what's yours is mine including your friends.” I throw in a little sarcastic eye flutter. “We're going to be so head-over-heels-in-love. I can't wait to see how romantic you are!” “Oh no. I refuse to be your kind of bumper-sticker-romantic. Don't mistake me for Mr. Darcy.” I gasp. “You don't know Hunger Games or Forks, Washington, but you know Mr. Darcy? Start talking.” “Crap! My grandmother's a fan. She's tortured me since birth with Mr. Darcy. Thanks to her DVD collection, I can quote Jane Austen faster than the Elmo song.” I laugh, surprised again. “Prove it.” “Elizabeth, daaarling!” He's launched into a breathless English accent. “I love, love, love you, and I never want to be parted from you from this day forward. Pardon me, whilst I puke…” “No way!” I beam. “Let the contract state that I want the Mr. Darcy accent once a week!” I can't help but laugh again because he's shaking his head and laughing back.

I have been reading Plotinus all evening. He has the power to sooth me; and I find his sadness curiously comforting. Even when he writes: “Life here with the things of earth is a sinking, a defeat, a failure of the wing.” The wing has indeed failed. One sinks. Defeat is certain. Even as I write these lines, the lamp wick sputters to an end, and the pool of light in which I sit contracts. Soon the room will be dark. One has always feared that death would be like this. But what else is there? With Julian, the light went, and now nothing remains but to let the darkness come, and hope for a new sun and another day, born of time’s mystery and a man’s love of life.

I was headfirst into the deep ocean before I learned how to control my dinghy in the swimming pool.

It is a great evil for a Chief of a nation to be born the enemy of the freedom whose defender he should be.

The old concept of chronological, orderly, symmetrical development of character died when it was discovered that the unconscious motivations are entirely at odds with fabricated conventions. Human beings do not grow in perfect symmetry. They oscillate, expand, contract, backtrack, arrest themselves, retrogress, mobilize, atrophy in part, proceed erratically according to experience and traumas. Some aspects of the personality mature, others do not. Some live in the past, some in the present. Some people are futuristic characters, some are cubistic, some are hard-edged, some geometric, some abstract, some impressionistic, some surrealistic!

Writing is a lifelong disease. Once contracted, the only prescription is to write constantly in whatever form to express your condition, in whatever construction to carry your words beyond you.

The cases described in this section (The Fear of Being) may seem extreme, but I have become convinced that they are not as uncommon as one would think. Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity into doubt. We are like the inmates of a mental institution who must accept its inhumanity and insensitivity as caring and knowledgeableness if they hope to be regarded as sane enough to leave. The question who is sane and who is crazy was the theme of the novel One Flew Over The Cuckoo's Nest. The question, what is sanity? was clearly asked in the play Equus. The idea that much of what we do is insane and that if we want to be sane, we must let ourselves go crazy has been strongly advanced by R.D. Laing. In the preface to the Pelican edition of his book The Divided Self, Laing writes: "In the context of our present pervasive madness that we call normality, sanity, freedom, all of our frames of reference are ambiguous and equivocal." And in the same preface: "Thus I would wish to emphasize that our 'normal' 'adjusted' state is too often the abdication of ecstasy, the betrayal of our true potentialities; that many of us are only too successful in acquiring a false self to adapt to false realities." Wilhelm Reich had a somewhat similar view of present-day human behavior. Thus Reich says, "Homo normalis blocks off entirely the perception of basic orgonotic functioning by means of rigid armoring; in the schizophrenic, on the other hand, the armoring practically breaks down and thus the biosystem is flooded with deep experiences from the biophysical core with which it cannot cope." The "deep experiences" to which Reich refers are the pleasurable streaming sensations associated with intense excitation that is mainly sexual in nature. The schizophrenic cannot cope with these sensations because his body is too contracted to tolerate the charge. Unable to "block" the excitation or reduce it as a neurotic can, and unable to "stand" the charge, the schizophrenic is literally "driven crazy." But the neurotic does not escape so easily either. He avoids insanity by blocking the excitation, that is, by reducing it to a point where there is no danger of explosion, or bursting. In effect the neurotic undergoes a psychological castration. However, the potential for explosive release is still present in his body, although it is rigidly guarded as if it were a bomb. The neurotic is on guard against himself, terrified to let go of his defenses and allow his feelings free expression. Having become, as Reich calls him, "homo normalis," having bartered his freedom and ecstasy for the security of being "well adjusted," he sees the alternative as "crazy." And in a sense he is right. Without going "crazy," without becoming "mad," so mad that he could kill, it is impossible to give up the defenses that protect him in the same way that a mental institution protects its inmates from self-destruction and the destruction of others.

Y'know — Babylon once had two million people in it, and all we know about 'em is the names of the kings and some copies of wheat contracts . . . and contracts for the sale of slaves. Yet every night all those families sat down to supper, and the father came home from his work, and the smoke went up the chimney,— same as here. And even in Greece and Rome, all we know about the real life of the people is what we can piece together out of the joking poems and the comedies they wrote for the theatre back then. So I'm going to have a copy of this play put in the cornerstone and the people a thousand years from now'll know a few simple facts about us — more than the Treaty of Versailles and the Lind-bergh flight. See what I mean? So — people a thousand years from now — this is the way we were in the provinces north of New York at the beginning of the twentieth century. — This is the way we were: in our growing up and in our marrying and in our living and in our dying. Said by the Stage Manager

People always describe jealousy as this sharp, green, venomous thing. Unfounded, vinegary, mean-spirited. But I’ve found that jealousy, to writers, feels more like fear. Jealousy is the spike in my heart rate when I glimpse news of Athena’s success on Twitter—another book contract, awards nominations, special editions, foreign rights deals. Jealousy is constantly comparing myself to her and coming up short; is panicking that I’m not writing well enough or fast enough, that I am not, and never will be, enough. Jealousy means that even just learning that Athena’s signing a six- figure option deal with Netflix means that I’ll be derailed for days, unable to focus on my own work, mired by shame and self-disgust every time I see one of her books in a bookstore display.

...every writer I had ever known wrote his best work when he had his back up against the wall and thought he would never write another word.

Isn’t that why all writers write? To inspire their readers?

I believed in childhood by authority, in youth by sentiment, in my mature years by reason; now I believe because I have always believed.

Words, English words, are full of echoes, of memories, of associations. They have been out and about, on people's lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today – that they are stored with other meanings, with other memories, and they have contracted so many famous marriages in the past.

What appears most disquieting to me in isolation is the dilemma of how to use time. There is either too much or too little of it; we either live inside painfully contracting horizons, or feel ourselves isolated in the vastness of space. I seem to have lived with the palm of my hand balanced on the tip of a knife, writing what in theory I would call the Preface to a Future Book. And the relation of time to creation should always appear like that, a ratio that describes the fullness of energy brought to a particular stage of one's life, so that each work is a preface to a stage at which one has still to arrive, the logical extension of which is death. I live for the blaze of metaphor that unites incongruities. The red wine-stain on my page is like an intoxicant to the dance of words. It is a little ritual I undertake, this sprinkling of wine-spots on paper.

The Nobel Prize is the best thing that can happen to a writer in terms of how it affects your contracts, the publishers, and the seriousness with which your work is taken. On the other hand, it does interfere with your private life, or it can if you let it, and it has zero effect on the writing.It doesn't help you write better and if you let it, it will intimidate you about future projects.

I couldn’t believe I was letting my ex-boyfriend risk the security of my bag. Money before honeys. No. Men weren’t honeys. Scratch that. Fees before The D. Contracts before Phone Contacts. Those were all terrible and I cannot believe someone is paying me to write. I opened up Instagram to distract myself.

Nowadays… deals are transactional rather than personal. Instead of placing your faith in a person, you get lawyers to write safeguards into the contract. This is an historic shift from a trust economy to a risk economy. But trust is not a dispensable luxury. It is the very basis of our social life. Many scholars believe that capitalism had religious roots because people could trust other people who, feeling that they were answerable to God, could be relied on to be honest in business. A world without trust is a lonely and dangerous place.

How the excitement comes upon me to tell it all! In the quest of writing, the heart can speed up with anticipation--as it does, indeed, during the chase itself of whales. I can swear it, having done both, and I will tell YOU though other writers may not. My heart is beating fast; I am in pursuit; I want my victory--that you should see and hear and above all feel the reality behind these words. For they are but a mask. Not the mask that conceals, not a mask that I would have you strike through as mere appearance, or, worse, deceitful appearance. Words need not be that kind of mask, but a mask such as the ancient Greek actors wore, a mask that expresses rather than conceals the inner drama. (But do you know me? Una? You have shipped long with me in the boat that is this book. Let me assure you and tell you that I know you, even something of your pain and joy, for you are much like me. The contract of writing and reading requires that we know each other. Did you know that I try on your mask from time to time? I become a reader, too, reading over what I have just written. If I am your shipbuilder and captain, from time to time I am also your comrade. Feel me now, standing beside you, just behind your shoulder?)

Harry took a deep, steadying breath and then said, “Okay, I can’t see the World Cup. Can I go now, then? Only I’ve got a letter to Sirius I want to finish. You know — my godfather.” He had done it. He had said the magic words. Now he watched the purple recede blotchily from Uncle Vernon’s face, making it look like badly mixed black currant ice cream. “You’re — you’re writing to him, are you?” said Uncle Vernon, in a would-be calm voice — but Harry had seen the pupils of his tiny eyes contract with sudden fear. “Well — yeah,” said Harry, casually. “It’s been a while since he heard from me, and, you know, if he doesn’t, he might start thinking something’s wrong.” He stopped there to enjoy the effect of these words. He could almost see the cogs working under Uncle Vernon’s thick, dark, neatly parted hair. If he tried to stop Harry writing to Sirius, Sirius would think Harry was being mistreated. If he told Harry he couldn’t go to the Quidditch World Cup, Harry would write and tell Sirius, who would know Harry was being mistreated. There was only one thing for Uncle Vernon to do. Harry could see the conclusion forming in his uncle’s mind as though the great mustached face were transparent. Harry tried not to smile, to keep his own face as blank as possible. And then — “Well, all right then. You can go to this ruddy … this stupid … this World Cup thing. You write and tell these — these Weasleys they’re to pick you up, mind. I haven’t got time to go dropping you off all over the country. And you can spend the rest of the summer there. And you can tell your — your godfather … tell him … tell him you’re going.” “Okay then,” said Harry brightly.

Everytime I write, it's a catharsis. Even if I never got paid for it, I'd feel compelled to do it. And that's what makes a true writer. It's not how many readers you have or how many publishing contracts. Do you love to write? Then you're an author. No one can take that away from you.

The man-dog contract goes back to before the invention of writing, before the invention of the wheel, even before the invention of agriculture. In that sense, living with dogs may be one of the oldest surviving cultural landmarks of our heritage, a surviving fragment of the Stone Age.

The “evils of faction” theme recurs throughout our history, from the writings of the “muckrakers” at the turn of the twentieth century to the Democratic presidential primary campaigns of 2008 with talk of Halliburton’s contracts in Iraq and the shady practices of sub-prime mortgage lenders.

My dog, Willy, died a few years ago, but one of my great memories of him is watching him play in the front yard of our house at dusk. He was a puppy then, and in the early evenings he would contract a case of the zoomies. He ran in delighted circles around us, yipping and jumping at nothing in particular, and then after a while, he'd get tired, and he'd run over to me and lie down. And then he would do something absolutely extraordinary: He would roll over onto his back, and present his soft belly. I always marveled at the courage of that, his ability to be so absolutely vulnerable to us. He offered us the place ribs don't protect, trusting that we weren't going to bite or stab him. It's hard to trust the world like that, to show it your belly. There's something deep within me, something intensely fragile, that is terrified of turning itself to the world. I’m scared to even write this down, because I worry that having confessed this fragility, you know now where to punch. I know that if I’m hit where I am earnest, I will never recover.

Maybe authors shouldn't write more than one or two books. Maybe you just keep writing the same book over and over anyway.

Show me the contract.

All Demosthenes’ eloquence could never revive a body that luxury and the arts had enervated

It is not owing to stupidity that they have preferred other forms of exercise to those of the mind.

So he started writing these novels set in Small Town Georgia about folks with Good American Values who Fall in Love and then contract Life-Threatening Diseases and Die. I’m

Savage man, once he has eaten, is at peace with all of nature and the friend of all his fellow humans. Is

Keep your head down, fella. Do your job. Sell the product, write the contracts, negotiate the loans, attend the closings, bank your share and fatten the Keogh accordingly.

Mr. Young observed that life was a sad, sad thing — ”because the joy of every new marriage a man contracted was so apt to be blighted by the inopportune funeral of a less recent bride.

As I train myself to cast off words, as I learn to erase word-thoughts, I begin to feel a new world rising up around me, The old world of houses, rooms, trees and streets shimmers, wavers and tears away, revealing another universe as startling as fire. We are shut off from the fullness of things. Words hide the world. They blur together elements that exist apart, or they break elements into pieces bind up the world, contract it into hard little pellets of perception. But the unbound world, the world behind the world – how fluid it is, how lovely and dangerous. At rare moments of clarity, I succeed in breaking through. Then I see. I see a place where nothing is known, because nothing is shaped in advance by words. There, nothing is hidden from me. There, every object presents itself entirely, with all its being. It's as if, looking at a house, you were able to see all four sides and both roof slopes. But then, there's no “house,” no “object,” no form that stops at a boundary, only a stream of manifold, precise, and nameless sensations, shifting into one another, pullulating, a fullness, a flow. Stripped of words, untamed, the universe pours in on me from every direction. I become what I see. I am earth, I am air. I am all. My eyes are suns. My hair streams among the galaxies.

Y'know Babylon once had two million people in it, and all we know about 'em is the names of the kings and some copies of wheat contracts . . . and contracts for the sale of slaves. Yet every night all those families sat down to supper, and the father came home from his work, and the smoke went up the chimney, same as here. And even in Greece and Rome, all we know about the real life of the people is what we can piece together out of the joking poems and the comedies they wrote for the theatre back then. So I'm going to have a copy of this play put in the cornerstone and the people a thousand years from now'll know a few simple facts about us more than the Treaty of Versailles and the Lind-bergh flight. See what I mean? So people a thousand years from now this is the way we were in the provinces north of New York at the beginning of the twentieth century. This is the way we were: in our growing up and in our marrying and in our living and in our dying.

As soon as I entered the house, my wife took me in her arms, and kissed me; at which, having not been used to the touch of that odious animal for so many years, I fell into a swoon for almost an hour. At the time I am writing, it is five years since my last return to England. During the first year, I could not endure my wife or children in my presence; the very smell of them was intolerable; much less could I suffer them to eat in the same room. To this hour they dare not presume to touch my bread, or drink out of the same cup, neither was I ever able to let one of them take me by the hand. The first money I laid out was to buy two young stone-horses, which I keep in a good stable; and next to them, the groom is my greatest favourite, for I feel my spirits revived by the smell he contracts in the stable. My horses understand me tolerably well; I converse with them at least four hours every day. They are strangers to bridle or saddle; they live in great amity with me and friendship to each other.

You will do yourself a disservice if you confine your reading to the rising star whose six-figure, two-book contract might seem to indicate where your own work should be heading. I’m not saying you shouldn’t read such writers, some of whom are excellent and deserving of celebrity. I’m only pointing out that they represent the dot at the end of the long, glorious, complex sentence in which literature has been written.

When you get up in front of a group of people, you make a contract with them; you promise them, “I am going to deliver value X.” Every once in a while, you have to say, “See, I remember; I am keeping my promise.

Though Locke’s empiricist ideas are important, it was his political writing that made him famous. He proposed a social-contract theory of the legitimacy of government and the idea of natural rights to private property.

Siobhan said that I should write something I would want to read myself. Mostly I read books about science and maths. I do not like proper novels. In proper novels people say things like, "I am veined with iron, with silver and with streaks of common mud. I cannot contract into the firm fist which whose clench who do not depend on stimulus." What does this mean? I do not know. Nor does Father. Nor does Siobhan or Mr. Jeavons. I have asked them.

It's worth getting out of bed some mornings. And it's a pleasure, especially if the pale winter sun is out and shining, to delight with your lover in the urban gift of your favorite café. Fresh coffee, steaming croissants, and the Sunday papers. Ah! All the way to ours, Alice and I talked about love and how many people don't get any while others get a lot, and how that unfairness probably accounts for the federal deficit and crooked contracting practices, and so on.

I go up to my room to change out of my dress. Sitting on the bed is my yearbook. I flip to the back of the book, and there it is, Peter’s message to me. Only, it’s not a message, it’s a contract. Lara Jean and Peter’s Amended Contract Peter will write a letter to Lara Jean once a week. A real handwritten letter, not an e-mail. Lara Jean will call Peter once a day. Preferably the last call of the night, before she goes to bed. Lara Jean will put up a picture of Peter’s choosing on her wall. Peter will keep the scrapbook out on his desk so any interested parties will see that he is taken. Peter and Lara Jean will always tell each other the truth, even when it’s hard. Peter will love Lara Jean with all his heart, always.

There's a hardness I'm seeing in modern people. Those little moments of goofiness that used to make the day pass seem to have gone. Life's so serious now. Maybe it's just because I'm with an older gang now.[...]I mean nobody even has hobbies these days. Not that I can see. Husbands and wives both work. Kids are farmed out to schools and video games. Nobody seems able to endure simply being themselves, either - but at the same time they're isolated. People work much more, only go home and surf the Internet and send e-mail rather than calling or writing a note or visiting each other. They work, watch TV, and sleep. I see these things. The world is only about work: work work work get get get...racing ahead...getting sacked from work...going online...knowing computer languages...winning contracts. I mean, it's just not what I would have imagined the world might be if you'd asked me seventeen years ago. People are frazzled and angry, desperate about money, and, at best, indifferent to the future.

People always describe jealousy as this sharp, green, venomous thing. Unfounded, vinegary, mean-spirited. But I’ve found that jealousy, to writers, feels more like fear. Jealousy is the spike in my heart rate when I glimpse news of Athena’s success on Twitter—another book contract, awards nominations, special editions, foreign rights deals. Jealousy is constantly comparing myself to her and coming up short; is panicking that I’m not writing well enough or fast enough, that I am not, and never will be, enough.

Why isn't the manuscript ready? Because every book is more work than anyone intended. If authors and editors knew, or acknowledged, how much work was ahead, fewer contracts would be signed. Each book, before the contract, is beautiful to contemplate. By the middle of the writing, the book has become, for the author, a hate object. For the editor, in the middle of editing, it has become a two-ton concrete necklace. However, both author and editor will recover the gleam in their eyes when the work is completed, and see the book as the masterwork it really is.

There are parts of every passion that, when turned into a full-time job, suck. I love writing, but that doesn’t mean I love rewriting chapters over and over again, or getting rejection letters from agents, or poring over the dense legalese of a publishing contract until my eyes bleed.

That night, after all the guests have gone, after the chairs have been stacked back up, and the leftovers put in the fridge, I go up to my room to change out of my dress. Sitting on the bed is my yearbook. I flip to the back of the book, and there it is, Peter’s message to me. Only, it’s not a message, it’s a contract. Lara Jean and Peter’s Amended Contract Peter will write a letter to Lara Jean once a week. A real handwritten letter, not an e-mail. Lara Jean will call Peter once a day. Preferably the last call of the night, before she goes to bed. Lara Jean will put up a picture of Peter’s choosing on her wall. Peter will keep the scrapbook out on his desk so any interested parties will see that he is taken. Peter and Lara Jean will always tell each other the truth, even when it’s hard. Peter will love Lara Jean with all his heart, always.

I have had great enlightenment from the writings of St. John of the Cross. When I was between seventeen and eighteen, they were my only spiritual food. But as I grew older, religious writers left me quite unmoved. I’m still like that. If I glance at a book, no matter how good and moving it is, my heart at once contracts and I read without understanding or, if I understand, I cannot meditate on it. When I’m in this state, the Bible and The Imitation come to my rescue. In them I find hidden manna, a pure and substantial food. But, above all, the Gospels help me in my prayers. They are always showing me new ways of looking at things, and I am always finding hidden and mysterious meanings in them. I understand and, by experience, I know that the Kingdom of God is within us. Jesus has no need of books or doctors of the Church to guide souls. He, the Doctor of doctors, can teach without words. I have never heard Him speak, but I know that He is within me. He guides and inspires me every moment of the day. Just when I need it, a new light shines on my problems. This happens not so much during my hours of prayer as when I’m busy with my daily work.

During their subsequent meetings, which were soon and often, Lance confessed and anatomized his passion for her. He even gave her its (the passion’s, of course) biography. It had been born of a book jacket, the one responsible for the only really nice thing ever said about Eloise Michaud in a metropolitan review—“The photo-portrait on the book jacket will move as many books as, say, good writing might. To be honest, however, the picture is worth quite the price of the volume. Miss Michaud is the most scrumptious scrivener ever to set pen to the paper of a book-club contract.

The earth would be covered with men amongst whom there world would be almost no communication; we would make contact at some points without being united by a single one; everyone would remain isolated amongst the rest, everyone would think only of himself; our understanding would not develop; we would live without sensing anything, we would die without having lived; our entire happiness would consist of not knowing our misery; there would be neither goodness in our hearts, nor morality in our actions, and we would never have tasted the most delicious sentiment of the soul, which is the love of virtue.

Jolie. That’s her name. Jolie Dubois. I don’t bother writing it down, because it’s already engraved on my brain. There are claws in my chest, rearranging organs and making me new. Making me into whatever she needs me to be. I will worship her. I will find this sweet girl and protect her from any harm. She is mine to guard, to keep, to marry. To fuck. I’ve never had much interest in females. They are merely objects that need to be avoided so I can kill the men I am contracted to execute. They are occasional, faceless tools of comfort. This one is my angel. She was sent for me. My singing blood is telling me so.

A Russian philosopher, Mikhail Bakhtin said that "the self is the gift of the other" It seems to me most true now. The genes I carry, the clothes I wear, the food I eat all have come through the hands of others. Even those words I write now, my vocabulary, are not only mine. They are an agreement, a social contract between the two of us.

Nor do we experience the mechanisms that convert our desires into movements. When I wished to begin hiking up the mountain again, I would simply set off, without thinking about the individual muscle contractions that each step required. When a wasp flies, it is probably not aware of its every wing beat. It may simply will itself through space.

380 BCE Plato discusses the nature of justice and the just society in The Republic. 1651 Thomas Hobbes sets out a theory of social contract in his book Leviathan. 1689 John Locke develops Hobbes’s theory in his Second Treatise of Government. 1762 Jean-Jacques Rousseau writes The Social Contract. His views are later adopted by French revolutionaries.

The lateness also became more apparent, and notorious, once I started to perform. Half of the time I was late arriving onstage. I was asked to be late. That’s a big secret about my lateness. It has to do with money. A lot of the time when people are waiting for me to appear, I am waiting myself backstage. The clubs want to make money on the booze, and because people leave as soon as I finish, they make me wait so they can sell more booze. They pay me the door money, so they need the money from the bar. That was in my contract. They wouldn’t let me go onstage even if I wanted to. In that case, I might as well turn up late, rather than hang around. And then people started to expect me to be late. It became a Grace Jones thing. There would be disappointment if everything ran smoothly.

It was around the time of the divorce that all traces of decency vanished, and his dream of being the next great Southern writer was replaced by his desire to be the next published writer. So he started writing these novels set in Small Town Georgia about folks with Good American Values who Fall in Love and then contract Life-Threatening Diseases and Die. I'm serious. And it totally depresses me, but the ladies eat it up. They love my father's books and they love his cable-knit sweaters and they love his bleachy smile and orangey tan. And they have turned him into a bestseller and a total dick. Two of his books have been made into movies and three more are in production, which is where his real money comes from. Hollywood. And, somehow, this extra cash and pseudo-prestige have warped his brain into thinking that I should live in France. For a year.Alone.I don't understand why he couldn't send me to Australia or Ireland or anywhere else where English is the native language.The only French word I know is oui, which means "yes," and only recently did I learn it's spelled o-u-i and not w-e-e. At least the people in my new school speak English.It was founded for pretentious Americans who don't like the company of their own children. I mean, really. Who sends their kid to boarding school? It's so Hogwarts. Only mine doesn't have cute boy wizards or magic candy or flying lessons. Instead,I'm stuck with ninety-nine other students. There are twenty-five people in my entire senior class, as opposed to the six hundred I had back in Atlanta. And I'm studying the same things I studied at Clairemont High except now I'm registered in beginning French. Oh,yeah.Beginning French. No doubt with the freshman.I totally rock.

The producer’s responsibilities include hiring and building teams; writing contracts; contributing to the game’s design; managing the team’s work schedule; balancing the game’s budget; resolving disputes between creative and programming leads; acting as the team representative to upper management and publishers; coordinating the creation of outside resources such as art, music, and cutscenes; and arranging testing and localization.

There is a social contract between the readers/buyers of romance novels and the novelists who write them. It's this: the girl ends up with the guy about whom and for which legions of fans have been pining. It's the reason we pick up romance novels in the first place. We want to read about a coupling so intense, it speaks to a deep place inside of us, an atavistic need to be consumed by lust, passion and love. That is the social contract.

[ Dr. Lois Jolyon West was cleared at Top Secret for his work on MKULTRA. ] Dr. Michael Persinger [235], another FSMF Board Member, is the author of a paper entitled “Elicitation of 'Childhood Memories' in Hypnosis-Like Settings Is Associated With Complex Partial Epileptic-Like Signs For Women But Not for Men: the False Memory Syndrome.” In the paper Perceptual and Motor Skills,In the paper, Dr. Persinger writes: On the day of the experiment each subject (not more than two were tested per day) was asked to sit quietly in an acoustic chamber and was told that the procedure was an experiment in relaxation. The subject wore goggles and a modified motorcycle helmet through which 10-milligauss (1 microTesla) magnetic fields were applied through the temporal plane. Except for a weak red (photographic developing) light, the room was dark. Dr. Persinger's research on the ability of magnetic fields to facilitate the creation of false memories and altered states of consciousness is apparently funded by the Defense Intelligence Agency through the project cryptonym SLEEPING BEAUTY. Freedom of Information Act requests concerning SLEEPING BEAUTY with a number of different intelligence agencies including the CIA and DEA has yielded denial that such a program exists. Certainly, such work would be of direct interest to BLUEBIRD, ARTICHOKE, MKULTRA and other non-lethal weapons programs. Schnabel [280] lists Dr. Persinger as an Interview Source in his book on remote viewing operations conducted under Stargate, Grill Flame and other cryptonyms at Fort Meade and on contract to the Stanford Research Institute. Schnabel states (p. 220) that, “As one of the Pentagon's top scientists, Vorona was privy to some of the strangest, most secret research projects ever conceived. Grill Flame was just one. Another was code-named Sleeping Beauty; it was a Defense Department study of remote microwave mind-influencing techniques ... [...] It appears from Schnabel's well-documented investigations that Sleeping Beauty is a real, but still classified mind control program. Schnabel [280] lists Dr. West as an Interview Source and says that West was a, “Member of medical oversight board for Science Applications International Corp. remote-viewing research in early 1990s.

Finally, when the State close to ruin subsists only on an illusory and vain form, when the social bond is broken in all hearts, when the barest interest brazenly assumes the sacred name of public good; then the general will grows mute, everyone, prompted by secret motives, no more states opinions as a Citizen than if the State had never existed, and iniquitous decrees with no other goal than particular interest are falsely passed under the name of Laws.

Bitcoin is a dumb network supporting really smart devices, and that is an incredibly powerful concept because bitcoin pushes all of the intelligence to the edge. It doesn’t care if the bitcoin address is the address of a multimillionaire, the address of a central bank, the address of a smart contract, the address of a device, or the address of a human. It doesn’t know. It doesn’t care if the transaction is carrying lots of money or not much money at all. It doesn’t care if the address is in Kuala Lumpur or downtown New York. It doesn’t know, it doesn’t care.​ It moves money from one address to another based on a simple locking script. And that means that if you want to build a new application on top of bitcoin, you can upgrade the devices and you can build an application. You don’t need to ask for anyone’s permission to innovate. ​ ​Write the app, launch it on your endpoint, and bitcoin will route it, because bitcoin is a dumb network. That is the power of innovation on the internet. It’s innovation without permission. It’s innovation without central approval. It’s innovation without a broad network upgrade. And that means bitcoin is not a specific financial network. It’s not a financial network for large transactions or small transactions, fast transactions or slow transactions. It’s whatever you want to use it for, based upon what you choose to do at the endpoint.

THOMAS JEFFERSON LEFT POSTERITY an immense correspondence, and I am particularly indebted to The Papers of Thomas Jefferson, published by Princeton University Press and first edited by Julian P. Boyd. I am, moreover, grateful to the incumbent editors of the Papers, especially general editor Barbara B. Oberg, for sharing unpublished transcripts of letters gathered for future volumes. The goal of the Princeton edition was, and continues to be, “to present as accurate a text as possible and to preserve as many of Jefferson’s distinctive mannerisms of writing as can be done.” To provide clarity and readability for a modern audience, however, I have taken the liberty of regularizing much of the quoted language from Jefferson and from his contemporaries. I have, for instance, silently corrected Jefferson’s frequent use of “it’s” for “its” and “recieve” for “receive,” and have, in most cases, expanded contractions and abbreviations and followed generally accepted practices of capitalization.

I have to tell you," he says, "that I do not have a particularly unbiased view of Indians, because many have reneged on rental contracts, leaving without returning their units or running off with them. I guess there's another side to it, though, but for the life of me, I can't see it. I mean, I'm a good Christian and I really want to understand they can't honor a contract." On a piece of paper I write, "Imagine all the Indian treaties broken by the U.S. government." "I never thought of that." He sighs. "I'm ashamed to say I've never thought of that.

I seem to have contracted a style, yet I'm not quite sure what that style is - except that it won't let me write certain things on Facebook. I have contracted a name too it seems. And a face. And a body. And forty seven different flavors of who am I. I have a mother. I have a father. A sister. And a brother. Friends. Three dogs. A knife. A spoon. Dental Floss and a pair of fancy tight jeans. Is the world waiting for me to save it? What is this thing called World anyway and who was it told me it was false but that I should work like hell to save it? Purifying forty seven flavors of who am I. I've no idea what this means or even if it's allowed on Facebook. Mother, sister, father, brother, friends, dogs - a small sharp knife with a bent point that refuses to fit in the slot. Did God come to tell me She is real? The world false? Did Buddha? It's just an ordinary Wednesday night and I seem to have contracted a style - and a name - and a body - but when I look for the one who did, I can't seem to find him anywhere. Yet here came all these words. Good night, my friends. Sleep. Sleep like you've never slept before.

Youssef El-Ginghly, a Tower Hamlets GP, writing in the Observer in March 2013, described how the NHS is being dismantled and concluded: This is what saddens me: what were once the NHS’s strengths – resources, expertise and the united focus on the patient – are being replaced by a fragmented and atomized service, bound not by a duty of care but by a contract and driven, not by what is best for the patient, but by the cost of the encounter. It will be a slow, insidious creep but it’s coming. Be prepared. This is the way the NHS ends: not with a bang but a whimper.

WHEN I DESCRIBED THE TUMOR IN MY ESOPHAGUS as a “blind, emotionless alien,” I suppose that even I couldn’t help awarding it some of the qualities of a living thing. This at least I know to be a mistake: an instance of the pathetic fallacy (angry cloud, proud mountain, presumptuous little Beaujolais) by which we ascribe animate qualities to inanimate phenomena. To exist, a cancer needs a living organism, but it cannot ever become a living organism. Its whole malice—there I go again—lies in the fact that the “best” it can do is to die with its host. Either that or its host will find the measures with which to extirpate and outlive it. But, as I knew before I became ill, there are some people for whom this explanation is unsatisfying. To them, a rodent carcinoma really is a dedicated, conscious agent—a slow–acting suicide–murderer—on a consecrated mission from heaven. You haven’t lived, if I can put it like this, until you have read contributions such as this on the websites of the faithful: Who else feels Christopher Hitchens getting terminal throat cancer [sic] was God’s revenge for him using his voice to blaspheme him? Atheists like to ignore FACTS. They like to act like everything is a “coincidence.” Really? It’s just a “coincidence” [that] out of any part of his body, Christopher Hitchens got cancer in the one part of his body he used for blasphemy? Yeah, keep believing that, Atheists. He’s going to writhe in agony and pain and wither away to nothing and then die a horrible agonizing death, and THEN comes the real fun, when he’s sent to HELLFIRE forever to be tortured and set afire. There are numerous passages in holy scripture and religious tradition that for centuries made this kind of gloating into a mainstream belief. Long before it concerned me particularly I had understood the obvious objections. First, which mere primate is so damn sure that he can know the mind of god? Second, would this anonymous author want his views to be read by my unoffending children, who are also being given a hard time in their way, and by the same god? Third, why not a thunderbolt for yours truly, or something similarly awe–inspiring? The vengeful deity has a sadly depleted arsenal if all he can think of is exactly the cancer that my age and former “lifestyle” would suggest that I got. Fourth, why cancer at all? Almost all men get cancer of the prostate if they live long enough: It’s an undignified thing but quite evenly distributed among saints and sinners, believers and unbelievers. If you maintain that god awards the appropriate cancers, you must also account for the numbers of infants who contract leukemia. Devout persons have died young and in pain. Betrand Russell and Voltaire, by contrast, remained spry until the end, as many psychopathic criminals and tyrants have also done. These visitations, then, seem awfully random. My so far uncancerous throat, let me rush to assure my Christian correspondent above, is not at all the only organ with which I have blasphemed. And even if my voice goes before I do, I shall continue to write polemics against religious delusions, at least until it’s hello darkness my old friend. In which case, why not cancer of the brain? As a terrified, half–aware imbecile, I might even scream for a priest at the close of business, though I hereby state while I am still lucid that the entity thus humiliating itself would not in fact be “me.” (Bear this in mind, in case of any later rumors or fabrications.)

My several years in the word game have learnt me several rules: (1) Avoid alliteration. Always (2) Prepositions are not words to end sentences with. (3) Avoid clichés like the plague. (They're old hat.) (4) Employ the vernacular. (5) Eschew ampersands & abbreviations, etc. (6) Parenthetical remarks (however relevant) are unnecessary. (7) It is wrong to ever split an infinitive. (8) Contractions aren't necessary. (9) Foreign words and phrases are not apropos. (10) One should never generalize. (11) Eliminate quotations. Ralph Waldo Emerson said, "I hate quotations. Tell me what you know." (12) Comparisons are as bad as clichés. (13) Don't be redundant; don't use more words than necessary; it's highly superfluous. (14) Profanity sucks. (15) Be more or less specific. (16) Understatement is always best. (17) Exaggeration is a billion times worse than understatement. (18) One-word sentences? Eliminate. (19) Analogies in writing are like feathers on a snake. (20) The passive voice is to be avoided. (21) Go around the barn at high noon to avoid colloquialisms. (22) Even if a mixed metaphor sings, it should be derailed. (23) Who needs rhetorical questions?

This is something that has been going on forever,” Craig Spencer, the director of global health in emergency medicine at Columbia University, says about the variability of human response to infection. “I wouldn’t be surprised if people are walking about with long Epstein-Barr virus, or long influenza. We all know someone who is low energy, who’s told to work harder. We have all heard about chronic Lyme sufferers, and those with ME/CFS. But they get written off.” Spencer understands something about how infections can do long-term damage, because he contracted Ebola while working in Guinea, fell ill upon his return to New York City, and then struggled with the virus’s ongoing effects. (Studies have suggested that the Ebola virus may linger in the body for years.) The difference between long COVID and other infection-associated illnesses is that it is happening “on such a huge scale—unlike anything we’ve seen before. It is harder for the medical community to write off,” Spencer told me. Indeed, many researchers I spoke with for this book hope that the race to understand long COVID will advance our understanding of other chronic conditions that follow infection, transforming medicine in the process.

Forgetting herself entirely, Pandora let her head loll back against Gabriel's shoulder. "What kind of glue does Ivo use?" she asked languidly. "Glue?" he echoed after a moment, his mouth close to her temple, grazing softly. "For his kites." "Ah." He paused while a wave retreated. "Joiner's glue, I believe." "That's not strong enough," Pandora said, relaxed and pensive. "He should use chrome glue." "Where would he find that?" One of his hands caressed her side gently. "A druggist can make it. One part acid chromate of lime to five parts gelatin." Amusement filtered through his voice. "Does your mind ever slow down, sweetheart?" "Not even for sleeping," she said. Gabriel steadied her against another wave. "How do you know so much about glue?" The agreeable trance began to fade as Pandora considered how to answer him. After her long hesitation, Gabriel tilted his head and gave her a questioning sideways glance. "The subject of glue is complicated, I gather." I'm going to have to tell him at some point, Pandora thought. It might as well be now. After taking a deep breath, she blurted out, "I design and construct board games. I've researched every possible kind of glue required for manufacturing them. Not just for the construction of the boxes, but the best kind to adhere lithographs to the boards and lids. I've registered a patent for the first game, and soon I intend to apply for two more." Gabriel absorbed the information in remarkably short order. "Have you considered selling the patents to a publisher?" "No, I want to make the games at my own factory. I have a production schedule. The first one will be out by Christmas. My brother-in-law, Mr. Winterborne, helped me to write a business plan. The market in board games is quite new, and he thinks my company will be successful." "I'm sure it will be. But a young woman in your position has no need of a livelihood." "I do if I want to be self-supporting." "Surely the safety of marriage is preferable to the burdens of being a business proprietor." Pandora turned to face him fully. "Not if 'safety' means being owned. As things stand now, I have the freedom to work and keep my earnings. But if I marry you, everything I have, including my company, would immediately become yours. You would have complete authority over me. Every shilling I made would go directly to you- it wouldn't even pass through my hands. I'd never be able to sign a contract, or hire employees, or buy property. In the eyes of the law, a husband and wife are one person, and that person is the husband. I can't bear the thought of it. It's why I never want to marry.

I began writing: Love is not a contract you sign, where you commit to telling everything to each other. Love is when you feel understood without saying a thing. When you love someone, you accept them in their entirety. The bad bits along with the good bits. You learn to control your jealousy. You put their happiness above yours. You want the best for them. You wish them well. You tell them things that you believe are your absolute truth. You share your vulnerabilities with them. You show them your weakest side. You bank on their compassion. You never expect love to be unkind. And when you lose love, it feels like you have lost a part of yourself. Forever.

Writer's Rhyme Word by word line by line, I'm gonna make this writing fine. I'll reread 'til I know that each sentence says it so. Check the grammar and the meaning; be the critic; do the screening. Dictionary's not for show; Helps me get those words to flow. Watch the diet; hem it in. Do not fear to make it thin. Simple is a goal to praise; Let's untie that wordy phrase. Every word let's be sure follows the last with meaning pure. "Won't be easy," so 'tis said, but effort will put me ahead. Word by word line by line, I'm gonnna make this writing fine, even though it takes some time, I'm gonna make this writing fine; I'm gonna make this writing fine.

Make a List (or lists) • Make a list of all the things that you can look at and think: Why did we even bother to move that the last time? Now will be your last and best chance to give or throw away unwanted items until your next move (5-7 years on average). Give unwanted clothes, furniture, kitchen items, etc. to a charity that allows you to use your donation as a tax write-off. Yard sales are another option. • Make a list (and/or get one online) of household hazardous materials. These are common items in your home that are not or might not be safe to transport: flammables like propane tanks (even empty ones), gasoline or kerosene, aerosols or compressed gases (hair spray, spray paint), cleaning fluids in plastic containers (bleach, ammonia) and pesticides (bug spray) and herbicides (weed killer) and caustics like lye or pool acid. There is more likely to be damage caused by leakage of cleaning fluids-- like bleach--than there is by damage caused by a violent explosion or fire in your truck. The problem lies in the fact that any leaking fluid is going to drip its way to the floor and spread out--even in the short time span of your move and more so if you are going up and down hills. Aerosols can explode in the summer heat as can propane BBQ tanks. Gasoline from lawnmowers and pesticide vapors expand in the heat and can permeate everything in the truck. Plastic containers that have been opened can expand and contract with a change in temperature and altitude and crack.

People always describe jealousy as this sharp, green, venomous thing. Unfounded, vinegary, mean-spirited. But I've found that jeal-ousy, to writers, feels more like fear. Jealousy is the spike in my heart rate when I glimpse news of Athena's success on Twitter-another book contract, awards nominations, special editions, foreign rights deals. Jealousy is constantly comparing myself to her and coming up short; is panicking that I'm not writing well enough or fast enough, that I am not, and never will be, enough. Jealousy means that even just learning that Athena's signing a six-figure option deal with Net-fix means that I'll be derailed for days, unable to focus on my own work, mired by shame and self-disgust every time I see one of her books in a bookstore display.

The thing many people don’t realize about corporate lawyers is that they are nothing like what you see on TV shows. Sherry, Aldridge, and I will never step foot in a courtroom. We’ll never argue a case. We do deals; we’re not litigators. We prepare documents and review every piece of paperwork for a merger or an acquisition. Or to take a company public. On Suits, Harvey does both paperwork and crushes it in court. In reality, the lawyers at our firm who argue cases don’t have a clue what we do in these conference rooms. Most of them haven’t prepared a document in a decade. People think our form of corporate law is the less ambitious of the two, and while in many ways it’s less glamorous—no closing arguments, no media interviews—nothing compares to the power of the paper. At the end of the day, law comes down to what is written, and we do the writing. I love the order of deal making, the clarity of language—how there is little room for interpretation and none for error. I love the black-and-white terms. I love that in the final stages of closing a deal—particularly those of the magnitude Wachtell takes on—seemingly insurmountable obstacles arise. Apocalyptic scenarios, disagreements, and details that threaten to topple it all. It seems impossible we’ll ever get both parties on the same page, but somehow we do. Somehow, contracts get agreed upon and signed. Somehow, deals get done. And when it finally happens, it’s exhilarating. Better than any day in court. It’s written. Binding. Anyone can bend a judge’s or jury’s will with bravado, but to do it on paper—in black and white—that takes a particular kind of artistry. It’s truth in poetry. I

. . . that the State is, or ought to be, founded on contract." This would be true if the words which I have italicized should be omitted. It was the insertion of these words that furnished the writer a basis for his otherwise groundless analogy between the Anarchists and the followers of Rousseau. The latter hold that the State originated in a contract, and that the people of to-day, though they did not make it, are bound by it. The Anarchists, on the contrary, deny that any such contract was ever made; declare that, had one ever been made, it could not impose a shadow of obligation on those who had no hand in making it; and claim the right to contract for themselves as they please. The position that a man may make his own contracts, far from being analogous to that which makes him subject to contracts made by others, is its direct antithesis.

It truly is a team sport, and we have the best team in town. But it’s my relationship with Ilana that I cherish most. We have such a strong partnership and have learned how we work most efficiently: I need coffee, she needs tea. When we’re stressed, I pace around and use a weird neck massager I bought online that everyone makes fun of me for, and she knits. When we’re writing together she types, because she’s faster and better at grammar. We actually FaceTime when we’re not in the same city and are constantly texting each other ideas for jokes or observations to potentially use (I recently texted her from Asheville: girl with flip-flops tucked into one strap of tank top). Looking back now at over ten years of doing comedy and running a business with her I can see how our collaboration has expanded and contracted. But it’s the problem-solving aspect of this industry, the producing, the strategy, the realizing that we could put our heads together and figure out the best solution, that has made our relationship and friendship what it is. Because that spills into everything. We both have individual careers now, but those other projects have only been motivating and inspiring to each other and the show. We bring back what we’ve learned on the other sets, in the other negotiations, in the other writers’ rooms or press situations. I’m very lucky to have jumped into this with Ilana Rose Glazer, the ballsy, curly-haired, openhearted, nineteen-year-old girl that cracked me up that night at the corner of the bar at McManus. So many wonderful things have happened since we began working together, but there are a lot of confusing, life-altering things in there too, and it’s such a relief to have someone who completely understands the good and the bad.

It's obvious that at such times reading represented for me something like the center of reality; the rest seemed to me freaks of nature . . . hallucinations perhaps would be more appropriate. Since that other world was one in which I was unhappy, I didn't pay it much heed. It was this kind of thinking that was responsible for my idealistic bent. It stems from my conviction that reality can be learned from words, and I remained convinced for at least thirty years that a book offered you a kind of truth, a truth difficult to seize, even a metaphysical truth, and that it revealed secrets about various things. I remember that when I was seventeen or so I read Dostoevsky, and I had the distinct impression that he was offering me a secret. I wasn't quite sure what it was, but a secret nonetheless that transcended not only ordinary knowledge but also scientific knowledge, something slightly mysterious. And that kind of thinking remained with me for a long time, until finally I realized that literature was only one more human activity among many others, and as such it did not reveal any secret: what it does is no more or no less than record the full scope of how a particular period in history views the world and its people. But it took me a long time to see that. And at the time I'm referring to—when I was fifteen or so, and then later on during my last year before the baccalaureate—I was in the process of contracting what I was later to call my neurosis, that is, the notion that since reality had been given to me through books, I would make contact with reality, and offer a more profound truth about the world, if I wrote books myself. The idea was the discovery, the thing one reveals, and it certainly derived from all the elements I have just mentioned.

Yet there is dynamism in our house. Day to day, week to week, Cady blossoms: a first grasp, a first smile, a first laugh. Her pediatrician regularly records her growth on charts, tick marks indicating her progress over time. A brightening newness surrounds her. As she sits in my lap smiling, enthralled by my tuneless singing, an incandescence lights the room. Time for me is now double-edged: every day brings me further from the low of my last relapse but closer to the next recurrence—and, eventually, death. Perhaps later than I think, but certainly sooner than I desire. There are, I imagine, two responses to that realization. The most obvious might be an impulse to frantic activity: to “live life to its fullest,” to travel, to dine, to achieve a host of neglected ambitions. Part of the cruelty of cancer, though, is not only that it limits your time; it also limits your energy, vastly reducing the amount you can squeeze into a day. It is a tired hare who now races. And even if I had the energy, I prefer a more tortoiselike approach. I plod, I ponder. Some days, I simply persist. If time dilates when one moves at high speeds, does it contract when one moves barely at all? It must: the days have shortened considerably. With little to distinguish one day from the next, time has begun to feel static. In English, we use the word time in different ways: “The time is two forty-five” versus “I’m going through a tough time.” These days, time feels less like the ticking clock and more like a state of being. Languor settles in. There’s a feeling of openness. As a surgeon, focused on a patient in the OR, I might have found the position of the clock’s hands arbitrary, but I never thought them meaningless. Now the time of day means nothing, the day of the week scarcely more. Medical training is relentlessly future-oriented, all about delayed gratification; you’re always thinking about what you’ll be doing five years down the line. But now I don’t know what I’ll be doing five years down the line. I may be dead. I may not be. I may be healthy. I may be writing. I don't know. And so it's not all that useful to spend time thinking about the future - that is, beyond lunch.

As we’ve seen, one of the most frequently pursued paths for achievement-minded college seniors is to spend several years advancing professionally and getting trained and paid by an investment bank, consulting firm, or law firm. Then, the thought process goes, they can set out to do something else with some exposure and experience under their belts. People are generally not making lifelong commitments to the field in their own minds. They’re “getting some skills” and making some connections before figuring out what they really want to do. I subscribed to a version of this mind-set when I graduated from Brown. In my case, I went to law school thinking I’d practice for a few years (and pay down my law school debt) before lining up another opportunity. It’s clear why this is such an attractive approach. There are some immensely constructive things about spending several years in professional services after graduating from college. Professional service firms are designed to train large groups of recruits annually, and they do so very successfully. After even just a year or two in a high-level bank or consulting firm, you emerge with a set of skills that can be applied in other contexts (financial modeling in Excel if you’re a financial analyst, PowerPoint and data organization and presentation if you’re a consultant, and editing and issue spotting if you’re a lawyer). This is very appealing to most any recent graduate who may not yet feel equipped with practical skills coming right out of college. Even more than the professional skill you gain, if you spend time at a bank, consultancy, or law firm, you will become excellent at producing world-class work. Every model, report, presentation, or contract needs to be sophisticated, well done, and error free, in large part because that’s one of the core value propositions of your organization. The people above you will push you to become more rigorous and disciplined, and your work product will improve across the board as a result. You’ll get used to dressing professionally, preparing for meetings, speaking appropriately, showing up on time, writing official correspondence, and so forth. You will be able to speak the corporate language. You’ll become accustomed to working very long hours doing detail-intensive work. These attributes are transferable to and helpful in many other contexts.

I open the door to see him on my doorstep and he doesn’t even say hello. He says, “Let’s cut the crap, Daisy. You need to record this album or Runner’s taking you to court.” I said, “I don’t care about any of that. They can take their money back, get me kicked out of here if they want. I’ll live in a cardboard box.” I was very annoying. I had no idea what it meant to truly suffer. Teddy said, “Just get in the studio, love. How hard is that?” I told him, “I want to write my own stuff.” I think I even crossed my arms in front of my chest like a child. He said, “I’ve read your stuff. Some of it’s really good. But you don’t have a single song that’s finished. You don’t have anything ready to be recorded.” He said I should fulfill my contract with Runner and he would help me get my songs to a point where I could release an album of my own stuff. He called it “a goal for us all to work toward.” I said, “I want to release my own stuff now.” And that’s when he got testy with me. He said, “Do you want to be a professional groupie? Is that what you want? Because the way it looks from here is that you have a chance to do something of your own. And you’d rather just end up pregnant by Bowie.” Let me take this opportunity to be clear about one thing: I never slept with David Bowie. At least, I’m pretty sure I didn’t. I said, “I am an artist. So you either let me record the album I want or I’m not showing up. Ever.” Teddy said, “Daisy, someone who insists on the perfect conditions to make art isn’t an artist. They’re an asshole.” I shut the door in his face. And sometime later that day, I opened up my songbook and I started reading. I hated to admit it but I could see what he was saying. I had good lines but I didn’t have anything polished from beginning to end. The way I was working then, I’d have a loose melody in my head and I’d come up with lyrics to it and then I’d move on. I didn’t work on my songs after one or two rounds. I was sitting in the living room of my cottage, looking out the window, my songbook in my lap, realizing that if I didn’t start trying—I mean being willing to squeeze out my own blood, sweat, and tears for what I wanted—I’d never be anything, never matter much to anybody. I called Teddy a few days later, I said, “I’ll record your album. I’ll do it.” And he said, “It’s your album.” And I realized he was right. The album didn’t have to be exactly my way for it to still be mine.

Political philosophers of the Enlightenment, from Hobbes and Locke, reaching down to John Rawls and his followers today, have found the roots of political order and the motive of political obligation in a social contract – an agreement, overt or implied, to be bound by principles to which all reasonable citizens can assent. Although the social contract exists in many forms, its ruling principle was announced by Hobbes with the assertion that there can be ‘no obligation on any man which ariseth not from some act of his own’.1 My obligations are my own creation, binding because freely chosen. When you and I exchange promises, the resulting contract is freely undertaken, and any breach does violence not merely to the other but also to the self, since it is a repudiation of a well-grounded rational choice. If we could construe our obligation to the state on the model of a contract, therefore, we would have justified it in terms that all rational beings must accept. Contracts are the paradigms of self-chosen obligations – obligations that are not imposed, commanded or coerced but freely undertaken. When law is founded in a social contract, therefore, obedience to the law is simply the other side of free choice. Freedom and obedience are one and the same. Such a contract is addressed to the abstract and universal Homo oeconomicus who comes into the world without attachments, without, as Rawls puts it, a ‘conception of the good’, and with nothing save his rational self-interest to guide him. But human societies are by their nature exclusive, establishing privileges and benefits that are offered only to the insider, and which cannot be freely bestowed on all-comers without sacrificing the trust on which social harmony depends. The social contract begins from a thought-experiment, in which a group of people gather together to decide on their common future. But if they are in a position to decide on their common future, it is because they already have one: because they recognize their mutual togetherness and reciprocal dependence, which makes it incumbent upon them to settle how they might be governed under a common jurisdiction in a common territory. In short, the social contract requires a relation of membership. Theorists of the social contract write as though it presupposes only the first-person singular of free rational choice. In fact, it presupposes a first-person plural, in which the burdens of belonging have already been assumed.

Baba Muktananda also gave a lot of importance to the concept of matrika, though in a less aesthetic and more practical way. He urged the yogi to become aware of the subtle play of matrika though careful Self-observation. Seeing how matrika works in his inner world to create his experience of life, the yogi slowly learns to control matrika and turn it in the right direction. He writes: Just as matrika helps us to contract, it also helps us to expand ourselves. The moment one understands the matrika shakti and its work, one is no longer a human being. When the matrika shakti expands within, in this very body one becomes Shiva. Sit quietly and watch the play of matrika shakti. Watch how the matrika gives rise to letters, how the letters compose words, how the meaning of the words create images in the mind; watch how you become involved in these images. The yogi pursues matrika shakti; he watches it and makes it steady. He brings it under his control, he manipulates it any way he likes. He turns evil thoughts into good thoughts. The matrika shakti works according to his will. Such a yogi is called a conqueror of the senses. Another aphorism in the Shiva Sutras, II.7, says: Matrika chakra sambodhah When the Guru is pleased he grants full knowledge of matrika.

Prior to the invention of writing, stories were confined by the limited capacity of human brains. You couldn’t invent overly complex stories which people couldn’t remember. With writing you could suddenly create extremely long and intricate stories, which were stored on tablets and papyri rather than in human heads. No ancient Egyptian remembered all of pharaoh’s lands, taxes and tithes; Elvis Presley never even read all the contracts signed in his name; no living soul is familiar with all the laws and regulations of the European Union; and no banker or CIA agent tracks down every dollar in the world. Yet all of these minutiae are written somewhere, and the assemblage of relevant documents defines the identity and power of pharaoh, Elvis, the EU and the dollar. Writing has thus enabled humans to organise entire societies in an algorithmic fashion. We encountered the term ‘algorithm’ when we tried to understand what emotions are and how brains function, and defined it as a methodical set of steps that can be used to make calculations, resolve problems and reach decisions. In illiterate societies people make all calculations and decisions in their heads. In literate societies people are organised into networks, so that each person is only a small step in a huge algorithm, and it is the algorithm as a whole that makes the important decisions. This is the essence of bureaucracy.

In ballads, love is a disease, an affliction. You contract it as a mortal might contract one of their viruses. Perhaps a touch of hands or a brush of lips, and then it is as though your whole body is fevered and fighting it. But there’s no way to prevent it from running its course.” “That’s a remarkably poetic and profoundly awful view of love,” Oak says. Tiernan looks back at the sea. “I was never in love before, so all I had were ballads to go by.” Oak is silent, thinking of all the times he thought himself to be in love. “Never?” Tiernan gives a soft huff of breath. “I had lovers, but that’s not the same thing.” Oak thinks about how to name what he feels about Wren. He does not wish to write her ridiculous poems as he did for so many of the people with whom he thought he was in love, except that he does wish to make her laugh. He does not want to give her enormous speeches or to make grand, empty gestures; he does not want to give her the pantomime of love. He is starting to suspect, however, that pantomime is all he knows. “But…” Tiernan says, and hesitates again, running hand through his short blackberry hair. “What I feel is not like the ballads.” “Not an affliction, then?” Oak raises an eyebrow. “No fever?” Tiernan gives him an exasperated look—one with which the prince is very familiar. “It is more the feeling that there is a part of me I have left somewhere and am always looking for.” “So he’s like a missing phone?” “Someone ought to pitch you into the sea,” Tiernan says, but he has a small smile in the corner of his mouth.

Since we’re on the topic, I’d also like to set some ground rules.” “What kind of ground rules?” he asks, leaning back. I press my lips together and take a breath. “Well…I don’t want you trying to kiss me again.” Peter curls his lip at me. “Trust me, I don’t want to do it either. My forehead still hurts from this morning. I think I have a bruise.” He pushes his hair off his forehead. “Do you see a bruise?” “No, but I see a receding hairline.” “What?” Ha. I knew that would get him. Peter’s so vain. “Calm down, I’m only kidding. Do you have a piece of paper and a pen?” “You’re gonna write this down?” Primly I say, “It’ll help us remember.” Rolling his eyes, Peter reaches into his backpack, pulls out a notebook, and hands it to me. I turn to a clean page and write at the top, Contract. Then I write No kissing. “Are people really gonna buy it if we never touch each other in public?” Peter asks, looking skeptical. “I don’t think relationships are just about physicality. There are ways to show you care about someone, not just using your lips.” Peter’s smiling, and he looks like he’s about to crack a joke, so I swiftly add, “Or any other body part.” He groans. “You’ve gotta give me something here, Lara Jean. I have a reputation to uphold. None of my friends will believe I suddenly turned into a monk to date you. How about at least a hand in your back jean pocket? Trust me, it’ll be strictly professional.” I don’t say what I’m thinking, which is that he cares way too much what people think about him. I just nod and write down, Peter is allowed to put a hand in Lara Jean’s back jean pocket. “But no more kissing,” I say, keeping my head down so he can’t see me blush. “You’re the one who started it,” he reminds me.

There’s no efficient way to kill yourself with a dressmaker’s pin (I wouldn’t call contracting gangrene an efficient way to kill yourself) – I puzzled over it for a long time, seeing as they’d left the pins there, but it’s just not possible. Useful for picking locks though. I so loved the burglary lessons we got when we were training. Didn’t so much enjoy the bleak aftermath of my unsuccessful attempt to put them to use – very good at picking locks but not so good at getting out of the building. Our prison cells are only hotel bedrooms, but we are guarded like royalty. And also, there are dogs. After that episode with the pins, they had a good go at making sure I wouldn’t be able to walk if I did manage to get out – don’t know where you pick up the skills for disabling a person without actually breaking her legs, Nazi School of Assault and Battery? Like everything else it wasn’t permanent damage, nothing left this week but the bruises, and they check me carefully now for stray bits of metal. I got caught yesterday trying to hide a pen nib in my hair (I didn’t have a plan for it, but you never know). Oh – often I forget I am not writing this for myself, and then it’s too late to scratch it out. The evil Engel always snatches everything away from me and raises an alarm if she sees me trying to retract anything. Yesterday I tried ripping off the bottom of the page and eating it, but she got to it first. (It was when I realised I had thoughtlessly mentioned the factory at Swinley. It is refreshing sometimes to fight with her. She has the advantage of freedom, but I am a lot more imaginative. Also I am willing to use my teeth which she is squeamish about.) Where was I? Hauptsturmführer von Linden has taken away everything I wrote yesterday. It is your own fault, you cold and soulless Jerry bastard, if I repeat myself.

Marriages in the bourgeois sense of the word, and I mean in the most respectable sense of the word 'marriage', haven't the least to do with love no kind of institution can be made from love - and just as little with money; but rather with the social permission given to two people to satisfy their sexual desires with each other, of course under certain conditions, but such conditions as have the interests of society in view. It's clear that the prerequisites for such a contract must include some degree of liking between the parties concerned and very much goodwill - the will to be patient, conciliatory, to care for one another - but the word love should not be misused to describe it! For two lovers in the whole and strong sense of the word, sexual satisfaction is not the essential thing and really just a symbol: for one party, as has been said, a symbol of unconditional submission, for the other a symbol of assent to this, a sign of taking possession.- Marriage in the aristocratic sense, the old nobility's sense of the word, is about breeding a race (is there still a nobility today?) Quaeritur, in other words about maintaining a fixed, particular type of ruling men: man and woman were sacrificed to this viewpoint. Obviously, the primary requirement here was not love, on the contrary! - and not even that measure of mutual goodwill on which the good bourgeois marriage is based. The decisive thing was first the interest of the dynasty, and above that the class. Faced with the coldness, severity and calculating clarity of this noble concept of marriage, which has ruled in every healthy aristocracy, in ancient Athens as in eighteenth-century Europe, we would shiver a little, we warm-blooded animals with our ticklish hearts, we 'moderns'! And this is precisely why love as passion, in the grand understanding of the word, was invented for the aristocratic world and within it―where coercion and privation were greatest...

HOW TO CREATE A GOOD HABIT The 1st Law: Make It Obvious 1.1: Fill out the Habits Scorecard. Write down your current habits to become aware of them. 1.2: Use implementation intentions: “I will [BEHAVIOR] at [TIME] in [LOCATION].” 1.3: Use habit stacking: “After I [CURRENT HABIT], I will [NEW HABIT].” 1.4: Design your environment. Make the cues of good habits obvious and visible. The 2nd Law:Make It Attractive 2.1: Use temptation bundling. Pair an action you want to do with an action you need to do. 2.2: Join a culture where your desired behavior is the normal behavior. 2.3: Create a motivation ritual. Do something you enjoy immediately before a difficult habit. The 3rd Law: Make It Easy 3.1: Reduce friction. Decrease the number of steps between you and your good habits. 3.2: Prime the environment. Prepare your environment to make future actions easier. 3.3: Master the decisive moment. Optimize the small choices that deliver outsized impact. 3.4: Use the Two-Minute Rule. Downscale your habits until they can be done in two minutes or less. 3.5: Automate your habits. Invest in technology and onetime purchases that lock in future behavior. The 4th Law: Make It Satisfying 4.1: Use reinforcement. Give yourself an immediate reward when you complete your habit. 4.2: Make “doing nothing” enjoyable. When avoiding a bad habit, design a way to see the benefits. 4.3: Use a habit tracker. Keep track of your habit streak and “don’t break the chain.” 4.4: Never miss twice. When you forget to do a habit, make sure you get back on track immediately. HOW TO BREAK A BAD HABIT Inversion of the 1st Law: Make It Invisible 1.5: Reduce exposure. Remove the cues of your bad habits from your environment. Inversion of the 2nd Law: Make It Unattractive 2.4: Reframe your mind-set. Highlight the benefits of avoiding your bad habits. Inversion of the 3rd Law: Make It Difficult 3.6: Increase friction. Increase the number of steps between you and your bad habits. 3.7: Use a commitment device. Restrict your future choices to the ones that benefit you. Inversion of the 4th Law: Make It Unsatisfying 4.5: Get an accountability partner. Ask someone to watch your behavior. 4.6: Create a habit contract. Make the costs of your bad habits public and painful.

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a square. “It has flowered,” the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o’clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

write animal stories. This one was called Dialogues Between a Cow and a Filly; a meditation on ethics, you might say; it had been inspired by a short business trip to Brittany. Here’s a key passage from it: ‘Let us first consider the Breton cow: all year round she thinks of nothing but grazing, her glossy muzzle ascends and descends with impressive regularity, and no shudder of anguish comes to trouble the wistful gaze of her light-brown eyes. All that is as it ought to be, and even appears to indicate a profound existential oneness, a decidedly enviable identity between her being-in-the-world and her being-in-itself. Alas, in this instance the philosopher is found wanting, and his conclusions, while based on a correct and profound intuition, will be rendered invalid if he has not previously taken the trouble of gathering documentary evidence from the naturalist. In fact the Breton cow’s nature is duplicitous. At certain times of the year (precisely determined by the inexorable functioning of genetic programming) an astonishing revolution takes place in her being. Her mooing becomes more strident, prolonged, its very harmonic texture modified to the point of recalling at times, and astonishingly so, certain groans which escape the sons of men. Her movements become more rapid, more nervous, from time to time she breaks into a trot. It is not simply her muzzle, though it seems, in its glossy regularity, conceived for reflecting the abiding presence of a mineral passivity, which contracts and twitches under the painful effect of an assuredly powerful desire. ‘The key to the riddle is extremely simple, and it is that what the Breton cow desires (thus demonstrating, and she must be given credit here, her life’s one desire) is, as the breeders say in their cynical parlance, “to get stuffed”. And stuff her they do, more or less directly; the artificial insemination syringe can in effect, whatever the cost in certain emotional complications, take the place of the bull’s penis in performing this function. In both cases the cow calms down and returns to her original state of earnest meditation, except that a few months later she will give birth to an adorable little calf. Which, let it be said in passing, means profit for the breeder.’ * The breeder, of course, symbolized God. Moved by an irrational sympathy for the filly, he promised her, starting from the next chapter, the everlasting delight of numerous stallions, while the cow, guilty of the sin of pride, was to be gradually condemned to the dismal pleasures of artificial fertilization. The pathetic mooing of the ruminant would prove incapable of swaying the judgment of the Great Architect. A delegation of sheep, formed in solidarity, had no better luck. The God presented in this short story was not, one observes, a merciful God.