Craft Fair Quotes

I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit.

There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer. He lives in the ground. He’s a basement kind of guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you. Do you think it’s fair? I think it’s fair. He may not be much to look at, that muse-guy, and he may not be much of a conversationalist, but he’s got inspiration. It’s right that you should do all the work and burn all the mid-night oil, because the guy with the cigar and the little wings has got a bag of magic. There’s stuff in there that can change your life. Believe me, I know.

As a young man just beginning to publish some short fiction in the t&a magazines, I was fairly optimistic about my chances of getting published; I knew that I had some game, as the basketball players say these days, and I also felt that time was on my side; sooner or later the best-selling writers of the sixties and seventies would either die or go senile, making room for newcomers like me.

Sport, they said, is morally serious because mankind’s noblest aim is the loving contemplation of worthy things, such as beauty and courage. By witnessing physical grace, the soul comes to understand and love beauty. Seeing people compete courageously and fairly helps emancipate the individual by educating his passions.

TV came relatively late to the King household, and I’m glad. I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important. On the other hand, if you’re just starting out as a writer, you could do worse than strip your television’s electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

The mystique and the false glamour of the writing profession grow partly out of a mistaken belief that people who can express profound ideas and emotions have ideas and emotions more profound than the rest of us. It isn't so. The ability to express is a special gift with a special craft to support it and is spread fairly equally among the profound, the shallow, and the mediocre.

Your life is written in indelible ink. There's no going back to erase the past, tweak your mistakes, or fill in missed opportunities. When the moment's over, your fate is sealed. But if look closer, you notice the ink never really dries on any our experiences. They can change their meaning the longer you look at them. Klexos. There are ways of thinking about the past that aren't just nostalgia or regret. A kind of questioning that enriches an experience after the fact. To dwell on the past is to allow fresh context to trickle in over the years, and fill out the picture; to keep the memory alive, and not just as a caricature of itself. So you can look fairly at a painful experience, and call it by its name. Time is the most powerful force in the universe. It can turn a giant into someone utterly human, just trying to make their way through. Or tell you how you really felt about someone, even if you couldn't at the time. It can put your childhood dreams in context with adult burdens or turn a universal consensus into an embarrassing fad. It can expose cracks in a relationship that once seemed perfect. Or keep a friendship going by thoughts alone, even if you'll never see them again. It can flip your greatest shame into the source of your greatest power, or turn a jolt of pride into something petty, done for the wrong reasons, or make what felt like the end of the world look like a natural part of life. The past is still mostly a blank page, so we may be doomed to repeat it. But it's still worth looking into if it brings you closer to the truth. Maybe it's not so bad to dwell in the past, and muddle in the memories, to stem the simplification of time, and put some craft back into it. Maybe we should think of memory itself as an art form, in which the real work begins as soon as the paint hits the canvas. And remember that a work of art is never finished, only abandoned.

I snorted, completely unsurprised. “Fair folk are impossible.” “That’s irregular, coming from a human who can’t even eat a raw hare.” Hastening along behind him, trying to keep up with his long strides, I decided not to argue about the hare. I was coming to realize that the Craft was so enigmatic to fair folk I might as well have refused to eat meat unless it had been bathed in widow’s tears under a new moon. Realizing that your own magic held more mystery to fair folk than theirs did to you was a peculiar experience. I felt like some sort of wizard with delicate and arcane indispositions, not an artist and a perfectly ordinary person

Baptist minister and inventor Burrell Cannon (1848–1922) led some Pittsburg investors to establish the Ezekiel Airship Company and build a craft described in the Biblical book of Ezekiel. The ship had large fabric-covered wings powered by an engine that turned four sets of paddles. It was built in a nearby machine shop and was briefly airborne at this site late in 1902, a year before the Wright brothers first flew. Enroute to the St. Louis World’s Fair in 1904, the airship was destroyed by a storm. A second model crashed and the Rev. Cannon gave up the project.

I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important. On the other hand, if you’re just starting out as a writer, you could do worse than strip your television’s electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

None of it was fair. You spend your adulthood trying to craft a life that feels as safe as early childhood, but the world yanks you farther and farther away.

Check out digitalrenfaire.com for virtual performances and the Facebook group Faire Relief 2020 for vendors selling their crafts online.

I miss you more than I remember. They will tell you that to be political is to be merely angry, and therefore artless, depthless, “raw”, and empty. They will speak of the political with embarrassment, as if speaking of Santa Claus or the Easter Bunny. They will tell you that great writing ‘breaks free’ from the political, thereby ‘transcending’ the barriers of difference, uniting people toward universal truths. They’ll say this is achieved through craft above all. Let’s see how it’s made, they’ll say — as if how something is assembled is aliens to the impulse that created it. As if the first chair was hammered into existence without considering the human form. I know. It’s not fair that the word laughter is trapped inside slaughter.

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

In my travels on the surface, I once met a man who wore his religious beliefs like a badge of honor upon the sleeves of his tunic. "I am a Gondsman!" he proudly told me as we sat beside eachother at a tavern bar, I sipping my wind, and he, I fear, partaking a bit too much of his more potent drink. He went on to explain the premise of his religion, his very reason for being, that all things were based in science, in mechanics and in discovery. He even asked if he could take a piece of my flesh, that he might study it to determine why the skin of the drow elf is black. "What element is missing," he wondered, "that makes your race different from your surface kin?" I think that the Gondsman honestly believed his claim that if he could merely find the various elements that comprised the drow skin, he might affect a change in that pigmentation to make the dark elves more akin to their surface relatives. And, given his devotion, almost fanaticism, it seemed to me as if he felt he could affect a change in more than physical appearance. Because, in his view of the world, all things could be so explained and corrected. How could i even begin to enlighten him to the complexity? How could i show him the variations between drow and surface elf in the very view of the world resulting from eons of walking widely disparate roads? To a Gondsman fanatic, everything can be broken down, taken apart and put back together. Even a wizard's magic might be no more than a way of conveying universal energies - and that, too, might one day be replicated. My Gondsman companion promised me that he and his fellow inventor priests would one day replicate every spell in any wizard's repertoire, using natural elements in the proper combinations. But there was no mention of the discipline any wizard must attain as he perfects his craft. There was no mention of the fact that powerful wizardly magic is not given to anyone, but rather, is earned, day by day, year by year and decade by decade. It is a lifelong pursuit with gradual increase in power, as mystical as it is secular. So it is with the warrior. The Gondsman spoke of some weapon called an arquebus, a tubular missile thrower with many times the power of the strongest crossbow. Such a weapon strikes terror into the heart of the true warrior, and not because he fears that he will fall victim to it, or even that he fears it will one day replace him. Such weapons offend because the true warrior understands that while one is learning how to use a sword, one should also be learning why and when to use a sword. To grant the power of a weapon master to anyone at all, without effort, without training and proof that the lessons have taken hold, is to deny the responsibility that comes with such power. Of course, there are wizards and warriors who perfect their craft without learning the level of emotional discipline to accompany it, and certainly there are those who attain great prowess in either profession to the detriment of all the world - Artemis Entreri seems a perfect example - but these individuals are, thankfully, rare, and mostly because their emotional lacking will be revealed early in their careers, and it often brings about a fairly abrupt downfall. But if the Gondsman has his way, if his errant view of paradise should come to fruition, then all the years of training will mean little. Any fool could pick up an arquebus or some other powerful weapon and summarily destroy a skilled warrior. Or any child could utilize a Gondsman's magic machine and replicate a firebal, perhaps, and burn down half a city. When I pointed out some of my fears to the Gondsman, he seemed shocked - not at the devastating possibilities, but rather, at my, as he put it, arrogance. "The inventions of the priests of Gond will make all equal!" he declared. "We will lift up the lowly peasant

As with all other aspects of fiction, the key to writing good dialogue is honesty. And if you are honest about the words coming out of your characters’ mouths, you’ll find that you’ve let yourself in for a fair amount of criticism.

Paul was an attorney. And this was what his as yet brief career in the law had done to his brain. He was comforted by minutiae. His mortal fears could be assuaged only by an encyclopedic command of detail. Paul was a professional builder of narratives. He was a teller of concise tales. His work was to take a series of isolated events and, shearing from them their dross, craft from them a progression. The morning’s discrete images—a routine labor, a clumsy error, a grasping arm, a crowded street, a spark of fire, a blood-speckled child, a dripping corpse—could be assembled into a story. There would be a beginning, a middle, and an end. Stories reach conclusions, and then they go away. Such is their desperately needed magic. That day’s story, once told in his mind, could be wrapped up, put aside, and recalled only when necessary. The properly assembled narrative would guard his mind from the terror of raw memory. Even a true story is a fiction, Paul knew. It is the comforting tool we use to organize the chaotic world around us into something comprehensible. It is the cognitive machine that separates the wheat of emotion from the chaff of sensation. The real world is overfull with incidents, brimming over with occurrences. In our stories, we disregard most of them until clear reason and motivation emerge. Every story is an invention, a technological device not unlike the very one that on that morning had seared a man’s skin from his bones. A good story could be put to no less dangerous a purpose. As an attorney, the tales that Paul told were moral ones. There existed, in his narratives, only the injured and their abusers. The slandered and the liars. The swindled and the thieves. Paul constructed these characters painstakingly until the righteousness of his plaintiff—or his defendant—became overwhelming. It was not the job of a litigator to determine facts; it was his job to construct a story from those facts by which a clear moral conclusion would be unavoidable. That was the business of Paul’s stories: to present an undeniable view of the world. And then to vanish, once the world had been so organized and a profit fairly earned.

I am thirty-two years old, and the best I can do on a Saturday is accompany my married friends to a craft fair. The thought inspired an instant twitch of self-loathing, because it was such a lame lament. You put something like that in your suicide note, and the cops would have a good laugh. “My wife burned dinner,” someone would say. “I think I’ll hang myself.” Another wit would say, “Hell, nothing but reruns on. I’m gonna get the shotgun out of the attic and blow my damned head off.” Wally found himself resenting these imagined cops. What did they know about his life?

Some readers may find it a curious or even unscientific endeavour to craft a criminological model of organised abuse based on the testimony of survivors. One of the standard objections to qualitative research is that participants may lie or fantasise in interview, it has been suggested that adults who report severe child sexual abuse are particularly prone to such confabulation. Whilst all forms of research, whether qualitative or quantitative, may be impacted upon by memory error or false reporting. there is no evidence that qualitative research is particularly vulnerable to this, nor is there any evidence that a fantasy— or lie—prone individual would be particularly likely to volunteer for research into child sexual abuse. Research has consistently found that child abuse histories, including severe and sadistic abuse, are accurate and can be corroborated (Ross 2009, Otnow et al. 1997, Chu et al. 1999). Survivors of child abuse may struggle with amnesia and other forms of memory disturbance but the notion that they are particularly prone to suggestion and confabulation has yet to find a scientific basis. It is interesting to note that questions about the veracity of eyewitness evidence appear to be asked far more frequently in relation to sexual abuse and rape than in relation to other crimes. The research on which this book is based has been conducted with an ethical commitment to taking the lives and voices of survivors of organised abuse seriously.

You mean you aren’t willing to chop off and reattatch your ears in order to hoist up your neck flaps, Lauren? Don’t you care about us? Where’s your commitment to your craft?” mean people on the Internet yell. I wish this possibility simply didn’t exist, so that we all had somewhat of a fair playing field.

Write about patriotism, about victory and defeat. Write about revolutions and rebels and prisoners and wars. About emotions, of love and hatred and disappointment and regret. Intangible love and uncolored hatred and heartbreaking disappointments and abysmal regrets. Write about the seven deadly sins, about stealth and murder and gluttony and greed. Don’t forget to write about saints and sinners all the same. Write the poor and the rich using the same words, make them equal for once. Write about mothers who lost their children, about those who never had to lose; I challenge you to tell me which hurts more. Write about darkness and light, about light in the dark and darkness in the light. Remember to write about lost friendships, about those who never found a shoulder when life shut its lights dim, or those who kept the secret to their sadness within. Be fair to them too. Remind the world of those who always had someone to love but not someone to love them back, craft their nights and dreams carefully. Don’t forget the writers, who keep promises with words and silence. Be subtle. Be warm. Remember heartbeats and heartbreaks. Remember everything, remember all, equally. And then let the world remind you: Words will never be fair to whatever you write.

I would not have Drool reading Cicero or crafting clever riddles, but under my tutelage he had become more than fair at tumbling and juggling, could belch a song, and was, at court, at least as entertaining as a trained bear, with slightly less proclivity for eating the guests. With guidance, he would make a proper fool.

If a psychosis was just some synapses misfiring why wouldnt you simply get static? But you dont. You get a carefully crafted and fairly articulate world never seen before. Who's doing this? Who is it who is running around hooking up the dangling wires in new and unusual ways. Why is he doing it? What is the algorithm he follows? Why do we suspect there is one?

It was the same in just about every trade. Sooner or later someone decided it needed organizing, and the one thing you could be sure of was that the organizers weren’t going to be the people who, by general acknowledgment, were at the top of their craft. They were working too hard. To be fair, it generally wasn’t done by the worst, neither. They were working hard, too. They had to.

Working hard is important. But more effort does not necessarily yield more results. “Less but better” does. Ferran Adrià, arguably the world’s greatest chef, who has led El Bulli to become the world’s most famous restaurant, epitomizes the principle of “less but better” in at least two ways. First, his specialty is reducing traditional dishes to their absolute essence and then re-imagining them in ways people have never thought of before. Second, while El Bulli has somewhere in the range of 2 million requests for dinner reservations each year, it serves only fifty people per night and closes for six months of the year. In fact, at the time of writing, Ferran had stopped serving food altogether and had instead turned El Bulli into a full-time food laboratory of sorts where he was continuing to pursue nothing but the essence of his craft.1 Getting used to the idea of “less but better” may prove harder than it sounds, especially when we have been rewarded in the past for doing more … and more and more. Yet at a certain point, more effort causes our progress to plateau and even stall. It’s true that the idea of a direct correlation between results and effort is appealing. It seems fair. Yet research across many fields paints a very different picture. Most people have heard of the “Pareto Principle,” the idea, introduced as far back as the 1790s by Vilfredo Pareto, that 20 percent of our efforts produce 80 percent of results. Much later, in 1951, in his Quality-Control Handbook, Joseph Moses Juran, one of the fathers of the quality movement, expanded on this idea and called it “the Law of the Vital Few.”2 His observation was that you could massively improve the quality of a product by resolving a tiny fraction of the problems. He found a willing test audience for this idea in Japan, which at the time had developed a rather poor reputation for producing low-cost, low-quality goods. By adopting a process in which a high percentage of effort and attention was channeled toward improving just those few things that were truly vital, he made the phrase “made in Japan” take on a totally new meaning. And gradually, the quality revolution led to Japan’s rise as a global economic power.3

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.

It was the same in just about every trade. Sooner or later someone decided it needed organizing, and the one thing you could be sure of was that the organizers weren’t going to be the people who, by general acknowledgement, were at the top of their craft. They were working too hard. To be fair, it generally wasn’t done by the worst, neither. They were working hard, too. They had to. No, it was done by the ones who had just enough time and inclination to scurry and bustle.

But TV came relatively late to the King household, and I’m glad. I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit. This might not be important. On the other hand, if you’re just starting out as a writer, you could do worse than strip your television’s electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

Past is Prologue This book was written observing the premise that the seeds of Holocaust denial take root and prosper with misinformation. Clarity and transparency are imperative, as they leave no room for denial theories that would deprive the victims justice, or rob the living of a future. Generations of historians have enthusiastically gone about their craft knowing full well that 'he who owns the past, owns the future'. Improperly documented history, or more precisely, fraudulent versions of history not only deprive the victims of pasts injustices due recognition of their suffering, but also rob the living of a fair chance at a future free from the dangers of repeating past injustices.

She might come in to bride-bed: and he laughed, As one that wist not well of wise love's craft, And bade all bridal things be as she would. Yet of his gentleness he gat not good; For clothed and covered with the nuptial dark Soft like a bride came Brangwain to King Mark, And to the queen came Tristram; and the night Fled, and ere danger of detective light From the king sleeping Brangwain slid away, And where had lain her handmaid Iseult lay. And the king waking saw beside his head That face yet passion-coloured, amorous red From lips not his, and all that strange hair shed Across the tissued pillows, fold on fold, Innumerable, incomparable, all gold, To fire men's eyes with wonder, and with love Men's hearts; so shone its flowering crown above The brows enwound with that imperial wreath, And framed with fragrant radiance round the face beneath. And the king marvelled, seeing with sudden start Her very glory, and said out of his heart; "What have I done of good for God to bless That all this he should give me, tress on tress, All this great wealth and wondrous? Was it this That in mine arms I had all night to kiss, And mix with me this beauty? this that seems More fair than heaven doth in some tired saint's dreams, Being part of that same heaven? yea, more, for he, Though loved of God so, yet but seems to see, But to me sinful such great grace is given That in mine hands I hold this part of heaven, Not to mine eyes lent merely. Doth God make Such things so godlike for man's mortal sake? Have I not sinned, that in this fleshly life Have made of her a mere man's very wife?

Such gratitude! It hurt me to see you lose your professional standing, McGee. Like you were going soft and sentimental. So, through my own account, I put us into Fletcher and rode it up nicely and took us out, and split the bonus right down the middle. It's short-term. It's a check. Pay your taxes. Live a little. It's a longer retirement this time. We can gather up a throng and go blundering around on this licentious craft and get the remorses for saying foolish things while in our cups. We had a salvage contract, idiot, and the fee is comparatively small but fair." "And you are comparatively large but fair." "I think of myself that way. Where did the check go? Into the pocket so fast? Good." he looked at his watch. "I am taking a lady to lunch. Make a nice neat deck there, Captain." And away he went, humming.

On September 2, the day the Democratic National Convention in Chicago nominated George McClellan for president, news flashed across the country of the fall of Atlanta to General William Tecumseh Sherman after a long siege. Just as the Democrats met to declare the war a failure and crafted a platform that would lead to a negotiated Confederate independence of some kind, Sherman famously sent a telegram to Washington: “Atlanta is ours and fairly won.” Confederates’ rising hopes plummeted, and many war-weary Northerners, represented by the famous New York diarist George Templeton Strong, saw victory now on the immediate horizon: “Glorious news this morning—Atlanta taken at last!!! It is . . . the greatest event of the war.”45 The Democrats’ peace platform put Lincoln’s apparent moderation in a different light; and Douglass had seen a devotion in the president’s heart and mind

A great lawyer listens first, speaks second, and always thinks strategically." "Effective lawyering is less about winning arguments and more about crafting solutions that stand the test of justice." "The power of a lawyer lies in their ability to turn complexity into clarity." "A true lawyer is an advocate for the truth, not just for their client." "Lawyering is the art of persuasion, guided by reason and grounded in integrity." "A good lawyer knows the law; a great lawyer knows how to apply it wisely and ethically." "The essence of lawyering is not just in knowing the law, but in understanding people." "A lawyer's greatest skill is turning conflict into resolution with words that heal, not hurt." "Lawyering requires the courage to stand firm in principle and the flexibility to adapt in practice." "To be a lawyer is to be a guardian of justice, ensuring fairness prevails over power.

Youth are not just the leaders of tomorrow; they are the catalysts for change today." "True justice lies in creating spaces where every voice, no matter how quiet, can be heard." "Inclusive development begins with acknowledging the power of diversity in every corner of society." "Advocacy is not a profession; it is a responsibility we owe to the generations that come after us." "Empowering young minds is the key to unlocking a future built on innovation, compassion, and resilience." "Laws shape society, but it is the values of fairness and equality that breathe life into them." "A sustainable future is crafted when policy, people, and purpose align." "Strengthening civic engagement is not just about building informed citizens; it’s about nurturing empowered communities." "In every challenge lies an opportunity for growth, and in every voice, a spark for change." "Human rights are not negotiable; they are the foundation upon which we build a just society.

Television’s greatest appeal is that it is engaging without being at all demanding. One can rest while undergoing stimulation. Receive without giving. It’s the same in all low art that has as goal continued attention and patronage: it’s appealing precisely because it’s at once fun and easy. And the entrenchment of a culture built on Appeal helps explain a dark and curious thing: at a time when there are more decent and good and very good serious fiction writers at work in America than ever before, an American public enjoying unprecedented literacy and disposable income spends the vast bulk of its reading time and book dollar on fiction that is, by any fair standard, trash. Trash fiction is, by design and appeal, most like televised narrative: engaging without being demanding. But trash, in terms of both quality and popularity, is a much more sinister phenomenon. For while television has from its beginnings been openly motivated by — has been about—considerations of mass appeal and L.C.D. and profit, our own history is chock-full of evidence that readers and societies may properly expect important, lasting contributions from a narrative art that understands itself as being about considerations more important than popularity and balance sheets. Entertainers can divert and engage and maybe even console; only artists can transfigure. Today’s trash writers are entertainers working artists’ turf. This in itself is nothing new. But television aesthetics, and television-like economics, have clearly made their unprecedented popularity and reward possible. And there seems to me to be a real danger that not only the forms but the norms of televised art will begin to supplant the standards of all narrative art. This would be a disaster. [...] Even the snottiest young artiste, of course, probably isn’t going to bear personal ill will toward writers of trash; just as, while everybody agrees that prostitution is a bad thing for everyone involved, few are apt to blame prostitutes themselves, or wish them harm. If this seems like a non sequitur, I’m going to claim the analogy is all too apt. A prostitute is someone who, in exchange for money, affords someone else the form and sensation of sexual intimacy without any of the complex emotions or responsibilities that make intimacy between two people a valuable or meaningful human enterprise. The prostitute “gives,” but — demanding nothing of comparable value in return — perverts the giving, helps render what is supposed to be a revelation a transaction. The writer of trash fiction, often with admirable craft, affords his customer a narrative structure and movement, and content that engages the reader — titillates, repulses, excites, transports him — without demanding of him any of the intellectual or spiritual or artistic responses that render verbal intercourse between writer and reader an important or even real activity." - from "Fictional Futures and the Conspicuously Young

Any fair consideration of the depth and width of enslavement tempts insanity. First conjure the crime--the generational destruction of human bodies--and all of its related offenses--domestic terrorism, poll taxes, mass incarceration. But then try to imagine being an individual born among the remnants of that crime, among the wronged, among the plundered, and feeling the gravity of that crime all around and seeing it in the sideways glances of the perpetrators of that crime and overhearing it in their whispers and watching these people, at best, denying their power to address the crime and, at worst, denying that any crime had occurred at all, even as their entire lives revolve around the fact of a robbery so large that it is written in our very names. This is not a thought experiment. America is literally unimaginable without plundered labor shackled to a plundered land, without the organizing principle of whiteness as citizenship, without the culture crafted by the plundered, and without that culture itself being plundered.

This means, a woman might think, that the law will treat her fairly in employment disputes if only she does her part, looks pretty, and dresses femininely. She would be dangerously wrong, though. Let’s look at an American working woman standing in front of her wardrobe, and imagine the disembodied voice of legal counsel advising her on each choice as she takes it out on its hanger. “Feminine, then,” she asks, “in reaction to the Craft decision?” “You’d be asking for it. In 1986, Mechelle Vinson filed a sex discrimination case in the District of Columbia against her employer, the Meritor Savings Bank, on the grounds that her boss had sexually harassed her, subjecting her to fondling, exposure, and rape. Vinson was young and ‘beautiful’ and carefully dressed. The district court ruled that her appearance counted against her: Testimony about her ‘provocative’ dress could be heard to decide whether her harassment was ‘welcome.’” “Did she dress provocatively?” “As her counsel put it in exasperation, ‘Mechelle Vinson wore clothes.’ Her beauty in her clothes was admitted as evidence to prove that she welcomed rape from her employer.” “Well, feminine, but not too feminine, then.” “Careful: In Hopkins v. Price-Waterhouse, Ms. Hopkins was denied a partnership because she needed to learn to ‘walk more femininely, talk more femininely, dress more femininely,’ and ‘wear makeup.’” “Maybe she didn’t deserve a partnership?” “She brought in the most business of any employee.” “Hmm. Well, maybe a little more feminine.” “Not so fast. Policewoman Nancy Fahdl was fired because she looked ‘too much like a lady.’” “All right, less feminine. I’ve wiped off my blusher.” “You can lose your job if you don’t wear makeup. See Tamini v. Howard Johnson Company, Inc.” “How about this, then, sort of…womanly?” “Sorry. You can lose your job if you dress like a woman. In Andre v. Bendix Corporation, it was ruled ‘inappropriate for a supervisor’ of women to dress like ‘a woman.’” “What am I supposed to do? Wear a sack?” “Well, the women in Buren v. City of East Chicago had to ‘dress to cover themselves from neck to toe’ because the men at work were ‘kind of nasty.’” “Won’t a dress code get me out of this?” “Don’t bet on it. In Diaz v. Coleman, a dress code of short skirts was set by an employer who allegedly sexually harassed his female employees because they complied with it.

We aren’t simply looking at a demographically induced economic breakdown; we are looking at the end of a half millennium of economic history. At present, I see only two preexisting economic models that might work for the world we’re (d)evolving into. Both are very old-school: The first is plain ol’ imperialism. For this to work, the country in question must have a military, especially one with a powerful navy capable of large-scale amphibious assault. That military ventures forth to conquer territories and peoples, and then exploits said territories and peoples in whatever way it wishes: forcing conquered labor to craft products, stripping conquered territories of resources, treating conquered people as a captive market for its own products, etc. The British Empire at its height excelled at this, but to be honest, so did any other post-Columbus political entity that used the word “empire” in its name. If this sounds like mass slavery with some geographic and legal displacement between master and slave, you’re thinking in the right general direction. The second is something called mercantilism, an economic system in which you heavily restrict the ability of anyone to export anything to your consumer base, but in which you also ram whatever of your production you can down the throats of anyone else. Such ramming is often done with a secondary goal of wrecking local production capacity so the target market is dependent upon you in the long term. The imperial-era French engaged in mercantilism as a matter of course, but so too did any up-and-coming industrial power. The British famously product-dumped on the Germans in the early 1800s, while the Germans did the same to anyone they could reach in the late 1800s. One could argue (fairly easily) that mercantilism was more or less the standard national economic operating policy for China in the 2000s and 2010s (under American strategic cover, no less). In essence, both possible models would be implemented with an eye toward sucking other peoples dry, and transferring the pain of general economic dislocation from the invaders to the invaded. Getting a larger slice of a smaller pie, as it were. Both models might theoretically work in a poorer, more violent, more fractured world—particularly if they are married. But even together, some version of imperialist mercantilism faces a singular, overarching, likely condemning problem: Too many guns, not enough boots.

Knuth: They were very weak, actually. It wasn't presented systematically and everything, but I thought they were pretty obvious. It was a different culture entirely. But the guy who said he was going to fire people, he wants programming to be something where everything is done in an inefficient way because it's supposed to fit into his idea of orderliness. He doesn't care if the program is good or not—as far as its speed and performance—he cares about that it satisfies other criteria, like any bloke can be able to maintain it. Well, people have lots of other funny ideas. People have this strange idea that we want to write our programs as worlds unto themselves so that everybody else can just set up a few parameters and our program will do it for them. So there'll be a few programmers in the world who write the libraries, and then there are people who write the user manuals for these libraries, and then there are people who apply these libraries and that's it. The problem is that coding isn't fun if all you can do is call things out of a library, if you can't write the library yourself. If the job of coding is just to be finding the right combination of parameters, that does fairly obvious things, then who'd want to go into that as a career? There's this overemphasis on reusable software where you never get to open up the box and see what's inside the box. It's nice to have these black boxes but, almost always, if you can look inside the box you can improve it and make it work better once you know what's inside the box. Instead people make these closed wrappers around everything and present the closure to the programmers of the world, and the programmers of the world aren't allowed to diddle with that. All they're able to do is assemble the parts. And so you remember that when you call this subroutine you put x0, y0, x1, y1 but when you call this subroutine it's x0, x1, y0, y1. You get that right, and that's your job.

Buy Verified USA Facebook Accounts From GlobalPVAShop In the world of digital marketing, social media, and online business, having a strong presence on Facebook is no longer optional—it’s a necessity. Whether you’re running ads, managing groups, launching eCommerce campaigns, or growing a brand, Facebook remains one of the most powerful platforms in the world. But to truly unlock its potential, especially in markets like the United States, you need access to reliable and verified USA Facebook accounts. That’s where GlobalPVAShop comes in. Known for offering premium, verified social media accounts, GlobalPVAShop makes it simple and secure to buy verified USA Facebook accounts that are ready for immediate use. But why would you want to buy one instead of creating your own? What are the benefits, and why is GlobalPVAShop the right place to get started? Let’s explore everything you need to know. What Is a Verified USA Facebook Account? A verified USA Facebook account is a Facebook profile that has been: Created with a U.S.-based IP address Registered with a valid U.S. phone number and email Fully verified by Facebook (identity, email, and often phone confirmed) Set up with realistic profile details, including profile pictures, activity, and friends These accounts are often aged or “seasoned,” meaning they’ve been around for a while, making them appear more authentic and trustworthy to both users and Facebook’s algorithm. Why Buy Verified USA Facebook Accounts? There are several reasons why businesses, marketers, and even individual entrepreneurs might choose to buy verified USA Facebook accounts instead of going through the hassle of creating and warming up accounts themselves: 1. Run Facebook Ads Without Limits Running ads on new Facebook accounts is risky. Many get restricted or disabled before a single campaign can run. Verified USA accounts, especially aged ones, are much less likely to trigger Facebook's security filters. They allow you to launch and scale ad campaigns quickly and more reliably. 2. Access U.S.-Specific Features Facebook offers different features and ad targeting options based on the region. With a verified USA account, you get access to tools and opportunities specific to the U.S. market—including better reach, more trusted ad placements, and detailed targeting options. 3. Manage Multiple Accounts If you’re running multiple businesses, ad campaigns, or social pages, it’s risky to rely on just one account. Buying additional verified accounts gives you the flexibility to diversify and protect your assets in case one account gets flagged or banned. 4. Increase Trust and Engagement A USA-based Facebook account often receives better engagement from U.S. audiences. It also looks more legitimate when managing pages or joining groups, which can lead to more interactions, sales, and brand credibility. 5. Avoid the Hassle of Verification Verifying a Facebook account yourself requires linking a real phone number, uploading ID documents, and enduring Facebook’s unpredictable review process. Buying a pre-verified account skips this stress entirely. Why Choose GlobalPVAShop? There’s no shortage of vendors offering Facebook accounts online. But GlobalPVAShop sets itself apart in a number of ways: ✅ High-Quality, Verified Accounts Each Facebook account from GlobalPVAShop is created using a U.S.-based IP and verified using real, clean information. These aren't bots or fake profiles—they're carefully crafted to resemble authentic users. Fast, Secure Delivery GlobalPVAShop delivers account credentials quickly, usually within hours. You’ll receive secure access details including the email, password, recovery options, and any additional info you need. Fair, Transparent Pricing You won’t find inflated prices or hidden fees here. Whether you're buying a single account or bulk packages, the pricing is competitive, and you get what you pay for: quality.

I was watching the news when I was about eight, and they were debating whether the wealthy in America contributed enough in taxes. One side argued that the rich, as a class, contributed more than ninety percent of total taxes collected. That about half of the country paid nothing in taxes, or received money in food stamps and welfare. Whereas the top earners, after all was said and done, had about half of their income confiscated by the government. “The counterargument to this was that it wasn’t fair that these high earners made so much. They could afford to give up even more of their income. And that they couldn’t have possibly made their fortunes working hard and taking risks, like Steve Jobs. They could only have done so by cheating and stealing from others, or exploiting them.” Craft paused. “So I asked my father where he came out on the debate.” “And?” “He told me to imagine I had a test in school and I studied for an entire week, night and day. My friend spent the entire week playing video games and having fun at the beach. I ended up getting an A, and my friend got an F. So what if the teacher said, ‘it’s not fair that Bren got an A and his friend got an F. So we’re going to give you both C’s. Still passing, right? So it’s no big deal. Still plenty of cushion away from an F. The A earners shouldn’t be greedy.’ “My father let me think about this and then asked me what I’d do the next time a test came around. How would I prepare for it? It occurred to me that if I knew I really couldn’t earn an A, what was the point of killing myself? I told my father, and he agreed. In fact, he told me that soon the entire class would be getting Cs, and then Ds. And eventually Fs. Socialism at work.

Wise organizations realize that by crafting processes, practices, and policies that play fair with customers, allow people to feel heard and respected when there are problems, and create the feeling that customers’ best interests are being looked after, they build the ultimate competitive weapon: the fervently loyal customer who evangelizes to all within earshot (or Internet connection) about their organization. More leaders are also being won over by

The tragedy of a liberal-arts degree. It fills you with stupid jokes and an urge to tell them. Makes you unfit for polite company.” “You could just keep them to yourself?” Dawn swished the scuzz off her teeth and drank it down. “Then you start laughing at nothing out of nowhere, and people think you’re mad. Though, to be fair, madness is a more common affliction on a pirate ship than a college education.

Peaches, the honey-colored spaniel, sat disconsolate, growing weaker with hunger, too stupid to live by craft, too short-legged to live by pursuit of prey. . . .Spot, the children’s mongrel pet, had the luck to find a litter of kittens and kill them, not for fun but for food. . . .Ned, the wire-haired terrier, who had always enjoyed being on his own and was by nature a tramp, managed to get along fairly well. . . .Bridget, the red setter, shivered and trembled, and now and then howled faintly with a howl that was scarcely more than a moan; her gentle spirit found no will to live in a world without master or mistress to love.

You know when you were a teenager and you’d see your mum with her best friends and they’d seem close, but they weren’t like how you were with your friends? There’d be a strange formality between them – a slight awkwardness when they first met. Your mum would clean the house before they came and they would talk about their children’s coughs and plans for their hair. When we were kids, Farly once said to me: ‘Promise we’ll never get like that. Promise when we’re fifty we’ll be exactly the same with each other. I want us to sit on the sofa, stuffing our faces with crisps and talking about thrush. I don’t want to become women who meet up once every couple of months for a craft fair at the NEC.’ I promised. But little did I know how much work it takes to sustain that kind of intimacy with a friend as you get older – it doesn’t just stick around coincidentally.” Excerpt From Everything I Know About Love Dolly Alderton This material may be protected by copyright.

When it comes to writing fiction, I have three nonnegotiable guidelines. It must be FAIR (the Divine values everyone; no one can be existentially abandoned, which does not negate their faults and failures). It must be REAL (all characters must eventually face their issues honestly, as in life). It must be SIMPLE (if something cannot be explained simply, it is not understood well enough).

Lark’s Song That child who from Diana’s thought is born A huntress swift, who doth the world adorn With strength and passion worthy of the Green May wax, and one day rise to be a queen. That child who in the eye of Phoebus grows Of visage fair, that none would dare oppose May in her hand hold light and glory too, And to the Light hold sternly staunch and true. That child who with the face of Venus smiles, Will bear a heart of mischief and of wiles, And may in time love’s faithful bonds fulfil While bending lesser hearts unto her will. That child who with Athena’s grace doth move May to all eyes her worldly wisdom prove And make right wise and fulsome use thereof To measure all who seek to win her love. That child who with grim Circe’s tongue foretells Enmeshing faithful hearts within her spells By dint of sly mendacity and guile, All innocence and virtue may defile. That child who by her cunning doth connive May by fair Tyche’s fortune wax and thrive And come in time to sit upon a throne; Or fail and fall, forsaken and alone. That child may choose to hark to glory’s call And shine in splendour, loved by one and all; Or cleave to darkness, hated and reviled: Chance crafts the fate of every fate-touched child.

That is their work, they imply, and they also imply that you, and your actual work, are fine but also neglectful and sad. They don’t say that, though. They say, Don’t worry if you can’t be there, at the mid-fall solstice sing-along, the late-winter sledding-song craft fair and potluck. Not a big deal with the mid-spring parent-student doubles badminton under-the-lights evening funmaker. No problem with the mother-daughter pajama party on every third Wednesday movie day Sound of Music bring your own guitar or lyre. No need to bring treats on your child’s birthday. No need to come in for career day. No need to swing by the opening of the new art studio which features real clay-throwing technology. Don’t care about art? Not an issue. No need, no need, no need, it’s fine, no problem, though you really are selfish and your children doomed. When they are first to try crack—they will try it and love it and sell it to our culture-loving children—we will know why.

Anything from a craft fair is not an acceptable retirement gift. It is the equivalent of giving your Mom a birdhouse made of Popsicle sticks when you are thirty-seven years old.

unlimited arrows from the enchanted book, I’d just use his house to craft some arrows instead; seems fair enough. I chopped and I chopped until my inventory was full of wood, then I took off running before anyone saw me.

And he showed them, riding on the Thames at the foot of the dock, a small double-ended, single-masted open shallop twenty-three feet long with eight ominous oars. “You, Edmund Steed, jump in,” Smith commanded, and a fair young man of twenty-five, dressed in the clothes of a scholar, obeyed. Soon all seven were aboard manning their oars while Captain Smith, barely five feet tall, stood approvingly on the dock, watching the little craft adjust to the weight

Lou and I talked and ate for close to an hour and found out that we thought similarly about everything. We’d seriously consider teaching someone else the ropes of a homicide investigation, just in case we wanted to be free to go and do whatever we wanted to do whenever we wanted to do it, whether we moved away or not. And both of us knew that we weren’t getting any younger, so we’d better get in better

What better way to earn a living than by doing something you love? That's the position you could be in by following the steps and tips offered by our expert authors in this eBook! The four books sampled in this ebook (Turn Your Talent into a Business, Cook Wrap Sell, Design Create Sell and Design Grow Sell) have all been produced in partnership with Country Living Magazine after witnessing the success of the Kitchen Table Talent Awards, the most popular competition run by the magazine, as well as sell-out audiences at the Country Living Spring Fair for talks on how to turn a hobby into a business. The team at Country Living know their readers have bags of talent; what was becoming increasingly clear is how many of them are considering turning that talent into turnover!

Jessica was very pretty, but she wasn't very smart and she accidentally ran herself over with the family station wagon while she was unloading her hand painted garden gnomes at an arts and crafts fair. The witnesses couldn't explain quite how she did it, but no one who knew her was surprised.

War and Peace has to be put in a group not with Madame Bovary, Vanity Fair, or The Mill on the Floss, but with the Iliad, in the sense that when the novel is finished nothing is finished—the stream of life flows on, and with the appearance of Prince Andrew’s son the novel ends on the beginning of a new life. All the time there are openings out of the story into the world beyond. This is a thing that had never been attempted by historical novelists before Tolstóy. As for the open form, it has often been attempted, but never so successfully. In a very different way the open form was achieved by James Joyce in Ulysses. As Tolstóy is compared with the Iliad and the Odyssey, so critics say that Joyce’s novel is of a mythological nature. John Galsworthy’s Forsyte Saga and Arnold Bennett’s The Old Wives’ Tale may also claim to belong to the category of “open” novels. No novel has received more enthusiastic praise both in Russia and England than War and Peace. John Galsworthy spoke of it as “the greatest novel ever written,” and those fine critics Percy Lubbock and E. M. Forster have been no less emphatic. In The Craft of Fiction Lubbock says that War and Peace is: “a picture of life that has never been surpassed for its grandeur and its beauty. . . . The business of the novelist is to create life, and here is life created indeed! In the whole of fiction no scene is so continually washed by the common air, free to us all, as the scene of Tolstóy, the supreme genius among novelists. “Pierre and Andrew and Natásha and the rest of them are the children of yesterday and today and tomorrow; there is nothing in any of them that is not of all time. To an English reader of today it is curious—and more, it is strangely moving—to note how faithfully the creations of Tolstóy, the nineteenth-century Russian, copy the young people of the twentieth century and of England: it is all one, life in Moscow then, life in London now, provided only that it is young enough.” E. M. Forster in Aspects of the Novel says: “No English novelist is as great

I think that was what I liked so much about her, at the time. That such talent could reside in such a humble soul. That she was entirely dedicated to her craft. For her, it was about the acting, the immersion into a character. Not the glitz and the red-carpet parades and the free gift bags. Although we both enjoyed our fair share of the parties, they were not the point for us.

Copyright ©2014 by Geniuz Gamer All rights reserved worldwide. No part of this book may be reproduced or transmitted or stored in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval, without express written permission from the author. In creation of this book all references and other trademark properties are used in accordance with the ‘’Fair Use’’ doctrine pursuant to US copyright law and the equivalent in other jurisdictions. Product names and trademarks are the property of their respective owners. All

When we were kids, Farly once said to me: “Promise we’ll never get like that. Promise when we’re fifty we’ll be exactly the same with each other. I want us to sit on the sofa, stuffing our faces with crisps and talking about thrush. I don’t want to become women who meet up once every couple of months for a craft fair at the NEC.” I promised. But little did I know how much work it takes to sustain that kind of intimacy with a friend as you get older—it doesn’t just stick around coincidentally.

As far as I was concerned, Sex on the Beach was a Highball comprising vodka, peach schnapps, orange juice, and cranberry juice. It’s a fairly simple affair, and in its heyday it’s possible that it was ordered more for its name than for the quality of the mixture. But I found recipes from bartenders nationwide who were using melon liqueur, raspberry liqueur, and even scotch in their rendition of this drink.

as a generalization, drinks containing eggs; fruit juices; cream liqueurs, such as Baileys; or dairy products (cream, half-and-half, or milk) should be shaken, while clear drinks, such as the classic Martini or Manhattan, are usually stirred. It’s fairly easy to determine why some drinks should be shaken: It’s far easier, for instance, to thoroughly combine a spirit with heavy cream or a fruit juice by shaking rather than stirring, whereas the Martini and the Manhattan, made with a spirit and vermouth, are easily mixed when stirred.

[A]s a generalization, drinks containing eggs; fruit juices; cream liqueurs, such as Baileys; or dairy products (cream, half-and-half, or milk) should be shaken, while clear drinks, such as the classic Martini or Manhattan, are usually stirred. It’s fairly easy to determine why some drinks should be shaken: It’s far easier, for instance, to thoroughly combine a spirit with heavy cream or a fruit juice by shaking rather than stirring, whereas the Martini and the Manhattan, made with a spirit and vermouth, are easily mixed when stirred.

Where does the word cocktail come from? There are many answers to that question, and none is really satisfactory. One particular favorite story of mine, though, comes from The Booze Reader: A Soggy Saga of a Man in His Cups, by George Bishop: “The word itself stems from the English cock-tail which, in the middle 1800s, referred to a woman of easy virtue who was considered desirable but impure. The word was imported by expatriate Englishmen and applied derogatorily to the newly acquired American habit of bastardizing good British Gin with foreign matter, including ice. The disappearance of the hyphen coincided with the general acceptance of the word and its re-exportation back to England in its present meaning.” Of course, this can’t be true since the word was applied to a drink before the middle 1800s, but it’s entertaining nonetheless, and the definition of “desirable but impure” fits cocktails to a tee. A delightful story, published in 1936 in the Bartender, a British publication, details how English sailors of “many years ago” were served mixed drinks in a Mexican tavern. The drinks were stirred with “the fine, slender and smooth root of a plant which owing to its shape was called Cola de Gallo, which in English means ‘Cock’s tail.’ ” The story goes on to say that the sailors made the name popular in England, and from there the word made its way to America. Another Mexican tale about the etymology of cocktail—again, dated “many years ago”—concerns Xoc-tl (transliterated as Xochitl and Coctel in different accounts), the daughter of a Mexican king, who served drinks to visiting American officers. The Americans honored her by calling the drinks cocktails—the closest they could come to pronouncing her name. And one more south-of-the-border explanation for the word can be found in Made in America, by Bill Bryson, who explains that in the Krio language, spoken in Sierra Leone, a scorpion is called a kaktel. Could it be that the sting in the cocktail is related to the sting in the scorpion’s tail? It’s doubtful at best. One of the most popular tales told about the first drinks known as cocktails concerns a tavernkeeper by the name of Betsy Flanagan, who in 1779 served French soldiers drinks garnished with feathers she had plucked from a neighbor’s roosters. The soldiers toasted her by shouting, “Vive le cocktail!” William Grimes, however, points out in his book Straight Up or On the Rocks: A Cultural History of American Drink that Flanagan was a fictional character who appeared in The Spy, by James Fenimore Cooper. He also notes that the book “relied on oral testimony of Revolutionary War veterans,” so although it’s possible that the tale has some merit, it’s a very unsatisfactory explanation. A fairly plausible narrative on this subject can be found in Famous New Orleans Drinks & How to Mix ’em, by Stanley Clisby Arthur, first published in 1937. Arthur tells the story of Antoine Amedie Peychaud, a French refugee from San Domingo who settled in New Orleans in 1793. Peychaud was an apothecary who opened his own business, where, among other things, he made his own bitters, Peychaud’s, a concoction still available today. He created a stomach remedy by mixing his bitters with brandy in an eggcup—a vessel known to him in his native tongue as a coquetier. Presumably not all Peychaud’s customers spoke French, and it’s quite possible that the word, pronounced coh-KET-yay, could have been corrupted into cocktail. However, according to the Sazerac Company, the present-day producers of Peychaud’s bitters, the apothecary didn’t open until 1838, so there’s yet another explanation that doesn’t work.

Copyright ©2014 by Geniuz Gamer All rights reserved worldwide. No part of this book may be reproduced or transmitted or stored in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval, without express written permission from the author. In creation of this book all references and other trademark properties are used in accordance with the ‘’Fair Use’’ doctrine pursuant to US copyright law and the equivalent in other jurisdictions.

TRUST is the Transparency that builds bridges, the Righteousness that upholds fairness, the Unwavering faith that fuels potential, the Strength that crafts resilient strategies, and the Thankfulness that recognizes every contribution. This is the compass that guides our journey.

This is the shape that Renaissance innovation takes, seen from a great (conceptual) distance. Most innovation clusters in the third quadrant: non-market individuals. A handful of outliers are scattered fairly evenly across the other three quadrants. This is the pattern that forms when information networks are slow and unreliable, and entrepreneurial economic conventions are poorly developed. It’s too hard to share ideas when the printing press and the postal system are still novelties, and there’s not enough incentive to commercialize those ideas without a robust marketplace of buyers and investors. And so the era is dominated by solo artists: amateur investigators, usually well-to-do, working on their own private obsessions. Not surprisingly, this period marks the birth of the modern notion of the inventive genius, the rogue visionary who somehow sees beyond the horizon that limits his contemporaries—da Vinci, Copernicus, Galileo. Some of those solo artists (Galileo most famously) worked outside of broader groups because their research posed a significant security threat to the established powers of the day. The few innovations that did emerge out of networks—the portable, spring-loaded watches that first appeared in Nuremberg in 1480, the double-entry bookkeeping system developed by Italian merchants—have their geographic origins in cities, where information networks were more robust. First-quadrant solo entrepreneurs, crafting their products in secret to ensure their eventual payday, turn out to be practically nonexistent. Gutenberg was the exception, not the rule.

Fair Quest The kingdom Lusania is in turmoil after the royal family is assassinated. Many bear the blood of the King, from poor farmers to lesser lords, but there is no clear line of succession. In the far reaches of the East, an ancient evil known as the Man of Masks stirs, awakened by its hunger for power as it senses Lusania’s loss. Using great magic that ultimately costs him his life, the Royal Wizard calls upon the Gods to send their emissaries, those Touched by Gods, to find the rightful ruler and bring peace unto the land. The future sovereign could be anyone of royal blood. To prove their worthiness.They may partner with one of the Gods Emissaries, the Touched, and defeat the Man of Masks. Today the adventure begins. Meet your companion. Defeat the Man of Masks. By presenting the Star gem, proof of the Man of Masks defeat, your companion will prove their worthiness to be king. Are you, O Touched One, the Kingmaker?

In an ideal world, what purpose should a government serve?” asked Craft. Then answering his own question he said, “It should protect its people from internal and external dangers. It should help build infrastructure and help society run smoothly. It should police society so commercial interactions are conducted fairly. And it should help provide citizens what they need to excel, the infrastructure and means. And that’s about it.

Which brings us to a little book that may provide a clue to the cure. My wife got it as a gift from a friend. It is titled Porn for Women. It’s a picture book of hunks, photographed in all their chiseled, muscle-bound, testosterone-marinated, PG-rated glory. Lots of naked chests and low-cut jeans, complete with tousled hair and beckoning eyes. And they are ALL doing housework. There’s a picture of a well-cut Adonis, and he’s loading the washing machine. The caption reads: “As soon as I finish the laundry, I’ll do the grocery shopping. And I’ll take the kids with me so you can relax.” There’s another hunk, the cover guy, vacuuming the floor. A particularly athletic-looking man peers up from the sports section and declares, “Ooh, look, the NFL playoffs are today. I bet we’ll have no trouble parking at the crafts fair”. Porn for Women. Available at a marriage near you.

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But I feel like all of this is looking at the issue from a fairly low level. If there are going to be breakthroughs that make it either impossible or unnecessary to build catastrophes like Windows Vista, we will just need new ways of thinking about what programs are and how to put them together.

The funny thing is, thinking back, I don't think all these modern gizmos actually make you any more productive. Hierarchical file systems—how do they make you more productive? Most of software development goes on in your head anyway. I think having worked with that simpler system imposes a kind of disciplined way of thinking. If you haven't got a directory system and you have to put all the files in one directory, you have to be fairly disciplined. If you haven't got a revision control system, you have to be fairly disciplined. Given that you apply that discipline to what you're doing it doesn't seem to me to be any better to have hierarchical file systems and revision control. They don't solve the fundamental problem of solving your problem. They probably make it easier for groups of people to work together. For individuals I don't see any difference.

of. The true purpose of Marxism and communism was never social justice or the fair redistribution of wealth and property. Its founders knew they couldn’t publicly announce their plan to create an all-powerful totalitarian world government, so they found softer words to convince the masses that this would be in their best interest. Given the deaths of tens of millions of people in the twentieth century’s communist revolutions and Hitler’s National Socialism movement resulting in World War II and the Holocaust, this would seem a formidable task. But the ruling elite, the oligarchy, the “scientific dictatorship,” the Illuminati, or whatever you choose to call them, really believe that the masses are genetically inferior and can be deceived by a well-funded campaign of carefully crafted messaging and subliminal and overt scientific mind control. Remember, the elite are completely convinced of the validity of Darwin’s theory of evolution in which certain races and genetic lines are vastly superior to others. That’s why the occult ruling families are obsessed with having their children breed within certain genetic lines to preserve their superiority. In the early twentieth century, the Rockefeller family funded eugenics programs—the science of selective breeding. The term was coined in the late 1800s by British natural scientist Francis Galton, who, influenced by Darwin’s theory, proposed a system allowing “the more suitable races or strains of blood a

Deutsch: Absolutely. Yes. Programs built in Python and Java—once you get past a certain fairly small scale—have all the same problems except for storage corruption that you have in C or C++. The essence of the problem is that there is no linguistic mechanism for understanding or stating or controlling or reasoning about patterns of information sharing and information access in the system. Passing a pointer and storing a pointer are localized operations, but their consequences are to implicitly create this graph. I'm not even going to talk about multithreaded applications—even in single-threaded applications you have data that's flowing between different parts of the program. You have references that are being propagated to different parts of the program. And even in the best-designed programs, you have these two or three or four different complex patterns of things that are going on and no way to describe or reason about or characterize large units in a way that actually constrains what happens in the small. People have taken runs at this problem. But I don't think there have been any breakthroughs and I don't think there have been any sort of widely accepted or widely used solutions.

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Though, to be fair, madness is a more common affliction on a pirate ship than a college education.

The simple studs bore polished selenite cabochons. I bought them for him on a whim from a craft fair in Samford, but they suited him. The crystal was meant to lift darkness on the spirit and bring light on the darkest days.

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