Craft Ideas To Do With Quotes

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.

Talent renders the whole idea of rehearsal meaningless; when you find something at which you are talented, you do it (whatever it is) until your fingers bleed or your eyes are ready to fall out of your head. Even when no one is listening (or reading or watching), every outing is a bravura performance, because you as the creator are happy. Perhaps even ecstatic.

We will bring humanity across the vast Saharas of emptiness between the stars and create a dynamic, perpetually advancing empire that spans galaxies, universes, and realities. Just as our ancestors wove fabric from organic matter, our descendants will weave the fabric of reality. Humanity’s descendants will be entities beyond our wildest conceptions of the divine. Omnipotence and the ability to create universes will be the least of their powers. Whether they are good or evil—whether they even come to be at all—is up to us. In that sense, we have even more power than they do.

Q: Do you feel concerned that after all this work, people won't treat [Starship Titanic] with the gravity of, say, a movie or a book? That they won't treat it as an art form? D.A.: I hope that's the case, yes. I get very worried about this idea of art. Having been an English literary graduate, I've been trying to avoid the idea of doing art ever since. I think the idea of art kills creativity. ... [I]f somebody wants to come along and say, "Oh, it's art," that's as may be. I don't really mind that much. But I think that's for other people to decide after the fact. It isn't what you should be aiming to do. There's nothing worse than sitting down to write a novel and saying, "Well, okay, I'm going to do something of high artistic worth." ... I think you get most of the most interesting work done in fields where people don't think they're doing art, but merely practicing a craft, and working as good craftsmen. ... I tend to get very suspicious of anything that thinks it's art while it's being created.

A critical assumption is sometimes made that [Grisham, Clancey, Crichton & myself] have access to some mystical vulgate that other (and often better) writers cannot find or will not deign to use. I doubt if this is true. Nor do I believe the contention of some popular novelists... that thier success is based on literary merit -- that the public understands true greatness in ways the tight-a**ed, consumed-by-jealousy literary establishment cannot. This idea is ridiculous, a product of vanity and insecurity.

But none of them taught me the things I learned from Carrie White. The most important is that the writer’s original perception of a character or characters may be as erroneous as the reader’s. Running a close second was the realization that stopping a piece of work just because it’s hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel shit from a sitting position.

Big Idea Your days are your life in miniature. As you live your hours, so you create your years. As you live your days, so you craft your life. What you do today is actually creating your future. The words you speak, the thoughts you think, the food you eat and the actions you take are defining your destiny — shaping who you are becoming and what your life will stand for. Small choices lead to giant consequences over time. There’s no such thing as an unimportant day.

...stopping a piece of work just because it’s hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel shit from a sitting position.

The only thing I knew to do with a man was what I'd learned from my parents: to fight or not fight. I had no idea how to craft a partnership beyond that one basic thing.

I do like the idea that aliens come to Earth to do arts and crafts. That’s nice.

Plot is, I think, the good writer’s last resort and the dullard’s first choice. The story which results from it is apt to feel artificial and labored. I lean more heavily on intuition, and have been able to do that because my books tend to be based on situation rather than story. Some of the ideas which have produced those books are more complex than others, but the majority start out with the stark simplicity of a department store window display or a waxwork tableau. I want to put a group of characters (perhaps a pair; perhaps even just one) in some sort of predicament and then watch them try to work themselves free. My job isn’t to help them work their way free, or manipulate them to safety—those are jobs which require the noisy jackhammer of plot—but to watch what happens and then write it down.

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.

Many amateurs believe that plants and animals reproduce on a one-way route toward perfection. Translating the idea in social terms, they believe that companies and organizations are, thanks to competition (and the discipline of the quarterly report), irreversibly heading toward betterment. The strongest will survive; the weakest will become extinct. As to investors and traders, they believe that by letting them compete, the best will prosper and the worst will go learn a new craft (like pumping gas or, sometimes, dentistry). Things are not as simple as that. We will ignore the basic misuse of Darwinian ideas in the fact that organizations do not reproduce like living members of nature—Darwinian ideas are about reproductive fitness, not about survival.

The idea that creative endeavor and mind-altering substances are entwined is one of the great pop-intellectual myths of our time... Creative people probably do run a greater risk of alcoholism and addiction than those in other jobs, but so what? We all look pretty much the same when we're puking in the gutter.

Where do writers get their ideas from? Anywhere and everywhere. Nothing is sacred.

Where do [writers] get [their] ideas? And the answer is that no one knows where the come from and nobody should know. They evolve in thin air, they float down from some mysterious heaven, and we reach and grab one, to grasp in our imagination, and to make it our own. One writer might overhear a conversation in a cafe and a whole novel will be built from that moment. Another might see an article in a newspaper and a plot will suggest itself immediately. Another might hear about an unpleasant incident that happened to a friend of a friend in a supermarket . . . .

Between the onion and the parsley, therefore, I shall give the summation of my case for paying attention. Man's real work is to look at the things of the world and to love them for what they are. That is, after all, what God does, and man was not made in God's image for nothing. The fruits of his attention can be seen in all the arts, crafts, and sciences. It can cost him time and effort, but it pays handsomely. If an hour can be spent on one onion, think how much regarding it took on the part of that old Russian who looked at onions and church spires long enough to come up with St. Basil's Cathedral. Or how much curious and loving attention was expended by the first man who looked hard enough at the inside of trees, the entrails of cats, the hind ends of horses and the juice of pine trees to realize he could turn them all into the first fiddle. No doubt his wife urged him to get up and do something useful. I am sure that he was a stalwart enough lover of things to pay no attention at all to her nagging; but how wonderful it would have been if he had known what we know now about his dawdling. He could have silenced her with the greatest riposte of all time: Don't bother me; I am creating the possibility of the Bach unaccompanied sonatas. But if man's attention is repaid so handsomely, his inattention costs him dearly. Every time he diagrams something instead of looking at it, every time he regards not what a thing is but what it can be made to mean to him - every time he substitutes a conceit for a fact - he gets grease all over the kitchen of the world. Reality slips away from him; and he is left with nothing but the oldest monstrosity in the world: an idol. Things must be met for themselves. To take them only for their meaning is to convert them into gods - to make them too important, and therefore to make them unimportant altogether. Idolatry has two faults. It is not only a slur on the true God; it is also an insult to true things. They made a calf in Horeb; thus they turned their Glory into the similitude of a calf that eateth hay. Bad enough, you say. Ah, but it was worse than that. Whatever good may have resided in the Golden Calf - whatever loveliness of gold or beauty of line - went begging the minute the Israelites got the idea that it was their savior out of the bondage of Egypt. In making the statue a matter of the greatest point, they missed the point of its matter altogether.

Bye-bye. Nice knowing you. But if you are waiting for that perfect idea to strike like lightning during a dust storm (I live in New Mexico), you could be waiting a long time. Ideas are everywhere. EVERYWHERE. I can’t walk to the bathroom without being hit with another idea. It’s what you DO with that idea that matters. Here is your mantra: BICHOK, BICHOK, BICHOK Translation: Butt in chair, hands on keys. Just write. Every stinking day.

I had a pupil who turned in a couple of well-crafted essays on Descartes, subjecting "cogito ergo sum" to effective and damaging criticism...This was the sort of thing the best students did, and it was thought to be Oxford intellectual training at its most sophistocated. But I said to him, "If all the criticisms you've made of Descartes are valid-- and on the whole I think they are-- why are we spending our time here now discussing him? Why have you just devoted a fortnight of your life to reading his main works and writing two essays about them? ...More to the point: if all these things are wrong with his ideas--and I think they are-- why is his name known to every educated person in the Western world today, three and a half centuries after his death? ...[text].. The pupil saw my point straight away but was at a loss to answer...[text].. Along such lines as these I made it a conscious principle of my teaching, whatever the subject, to get the pupil first of all to do the necessary learning, and the detailed work of analysis and criticism, and then to raise "Yes, but what is the point of all this-- why are we doing it?" questions. And students almost invariably found that it was only when that stage was reached that the really exciting interest and importantance of what it was they were doing opened up before their eyes.

So often the only thing you can do is give up the idea that you can perfectly visualize a life, and just keep stringing days together one by one; so often a gaping hole in a sleeve just needs a little tug a few stitches back. And sometimes you just have to sit with the hole, to accept that it’s there and it’s uncomfortable and it’s fine.

Singling out “women’s fiction” for genre derision never fails to piss me off. Somehow worse when women do it. Case in pt: Editor says crowd-sourcing editorial for romance & erotica not bad idea b/c “no great artistry at stake” Yes, genre fiction not high art. But it’s a craft we take seriously, writing for love of storytelling, not writing whatever sells.

We recently graduated from school, and the mayor gave us one last little school assignment. We had to write about our chosen profession. Twenty pages, too. Now, I love my village and all, and have absolutely zero regrets about becoming a warrior, but dude, c'mon. Who wants to write twenty pages about anything? Luckily, Runt thought of a way for us to avoid writing so much without breaking the rules, and every other student copied Runt's idea. Needless to say, the mayor wasn't too thrilled about that. Guess that's why Runt is back to crafting potato-based food items." Resisting the urge to ask 'What's a potato?', I nodded. "Hmm. Do you think I'll be able to speak with him?" "Probably,

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.

we eventually have to ask ourselves what did Jesus intend and when do we need to turn the other cheek? If our default response to this portion of the Sermon on the Mount is to craft exemptions, we might give the impression that we really don’t believe in Jesus’s ideas of nonviolent resistance and enemy love at all.

We contain things and give shape to things in order to be less afraid of them. Yes. The crafted idea does this. It's why I write. The metaphor does this. The intact body does it, too. Sometimes I worry I do this instead of allowing myself to feel things. . . . Reveal the pain, but hide the wreckage. I can hear Montaigne hollering: break it open, look inside, feel it, write it down.

Talent renders the whole idea of rehearsal meaningless; when you find something at which you are talented, you do it (whatever it is) until your fingers bleed or your eyes are ready to fall out of your head.

The most important is that the writer’s original perception of a character or characters may be as erroneous as the reader’s. Running a close second was the realization that stopping a piece of work just because it’s hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel shit from a sitting position.

The entrepreneur is comfortable raising money, hiring and firing, renting more office space than she needs right now. The entrepreneur must dream big and persuade others to share her dream. The freelancer, on the other hand, can focus on craft. She can most easily build her business by doing great work, consistently.

As most young candidates for the pains and penalties of whaling stop at this same New Bedford, thence to embark on their voyage, it may as well be related that I, for one, had no idea of so doing. For my mind was made up to sail in no other than a Nantucket craft, because there was a fine, boisterous something about everything connected with that famous old island, which amazingly pleased me. Besides though New Bedford has of late been gradually monopolizing the business of whaling, and though in this matter poor old Nantucket is now much behind her, yet Nantucket was her great original— the Tyre of this Carthage;—the place where the first dead American whale was stranded. Where else but from Nantucket did those aboriginal whalemen, the Red-Men, first sally out in canoes to give chase to the Leviathan? And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story— to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?

The idea that creative endeavor and mind-altering substances are entwined is one of the great pop-intellectual myths of our time. The four twentieth-century writers whose work is most responsible for it are probably Hemingway, Fitzgerald, Sherwood Anderson, and the poet Dylan Thomas. They are the writers who largely formed our vision of an existential English-speaking wasteland where people have been cut off from one another and live in an atmosphere of emotional strangulation and despair. These concepts are very familiar to most alcoholics; the common reaction to them is amusement. Substance-abusing writers are just substance abusers—common garden-variety drunks and druggies, in other words. Any claims that the drugs and alcohol are necessary to dull a finer sensibility are just the usual self-serving bullshit. I’ve heard alcoholic snowplow drivers make the same claim, that they drink to still the demons. It doesn’t matter if you’re James Jones, John Cheever, or a stewbum snoozing in Penn Station; for an addict, the right to the drink or drug of choice must be preserved at all costs. Hemingway and Fitzgerald didn’t drink because they were creative, alienated, or morally weak. They drank because it’s what alkies are wired up to do. Creative people probably do run a greater risk of alcoholism and addiction than those in some other jobs, but so what? We all look pretty much the same when we’re puking in the gutter.

Talent renders the whole idea of rehearsal meaningless; when you find something at which you are talented, you do it (whatever it is) until your fingers bleed or your eyes are ready to fall out of your head. Even when no one is listening (or reading, or watching), every outing is a bravura performance, because you as the creator are happy. Perhaps even ecstatic.

Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right—as right as you can, anyway—it belongs to anyone who wants to read it. Or criticize it. If you’re very lucky (this is my idea, not John Gould’s, but I believe he would have subscribed to the notion), more will want to do the former than the latter.

Perhaps it is weariness that causes seers not to act on what they see; for whereas the wisdom of the world can be vast, it includes the many futilities. Ideas do not have legs with which to run and hands with which to craft. They are wisps of smoke floating into a universe of pain and ignorance that overwhelm the capacity of one small human body and the mind trapped inside it.

the writer’s original perception of a character or characters may be as erroneous as the reader’s. Running a close second was the realization that stopping a piece of work just because it’s hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel shit from a sitting position.

write with the door closed, rewrite with the door open. Your stuff starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right—as right as you can, anyway—it belongs to anyone who wants to read it. Or criticize it. If you’re very lucky (this is my idea, not John Gould’s, but I believe he would have subscribed to the notion), more will want to do the former than the latter.

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.

We should be discerning readers. Story is a powerful force, and in that way we need to enter a story alert and ready to interact with the ideas that come our way, because ideas have consequences. It is good to let stories take us sometimes to places we do not want to go for the very reason that we do not want to go there. Stories can make us aware of the dangers waiting for us in the real world. A well-crafted novel is often superior to any other kind of reading, because change occurs first in our imaginations.

Anticipating sorrow to neutralize sorrow—that’s paltry, cowardly stuff, I told myself, knowing I was an ace practitioner of the craft. And what if it came fiercely? What if it came and didn’t let go, a sorrow that had come to stay, and did to me what longing for him had done on those nights when it seemed there was something so essential missing from my life that it might as well have been missing from my body, so that losing him now would be like losing a hand you could spot in every picture of yourself around the house, but without which you couldn’t possibly be you again. You lose it, as you always knew you would, and were even prepared to; but you can’t bring yourself to live with the loss. And hoping not to think of it, like praying not to dream of it, hurts just the same. Then a strange idea got hold of me: What if my body—just my body, my heart—cried out for his? What to do then? What if at night I wouldn’t be able to live with myself unless I had him by me, inside me? What then? Think of the pain before the pain. I knew what I was doing. Even in my sleep, I knew what I was doing. Trying to immunize yourself, that’s what you’re doing—you’ll end up killing the whole thing this way—sneaky, cunning boy, that’s what you are, sneaky, heartless, cunning boy. I smiled at the voice. The sun was right on me now, and I loved the sun with a near-pagan love for the things of earth. Pagan, that’s what you are. I had never known how much I loved the earth, the sun, the sea—people, things, even art seemed to come second. Or was I fooling myself?

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.

Little girls liked charm boxes. He had seen them at the markets on Saturdays, lining up at the craft stalls, looking for little cases in which to keep their treasures. He would make one for her, Lauren's daughter, and he would decorate it with all of the items that meant the most to him; the stone, too, for it had found a new child to protect. It wasn't much, but it was all that he could think to do. And maybe, just maybe, if he did it right, when he gave the gift to her, he would be able to imbue it with the same powerful idea, the same light and love, that the stone had held when it was given to him.

Toyota wasn’t really worried that it would give away its “secret sauce.” Toyota’s competitive advantage rested firmly in its proprietary, complex, and often unspoken processes. In hindsight, Ernie Schaefer, a longtime GM manager who toured the Toyota plant, told NPR’s This American Life that he realized that there were no special secrets to see on the manufacturing floors. “You know, they never prohibited us from walking through the plant, understanding, even asking questions of some of their key people,” Schaefer said. “I’ve often puzzled over that, why they did that. And I think they recognized we were asking the wrong questions. We didn’t understand this bigger picture.” It’s no surprise, really. Processes are often hard to see—they’re a combination of both formal, defined, and documented steps and expectations and informal, habitual routines or ways of working that have evolved over time. But they matter profoundly. As MIT’s Edgar Schein has explored and discussed, processes are a critical part of the unspoken culture of an organization. 1 They enforce “this is what matters most to us.” Processes are intangible; they belong to the company. They emerge from hundreds and hundreds of small decisions about how to solve a problem. They’re critical to strategy, but they also can’t easily be copied. Pixar Animation Studios, too, has openly shared its creative process with the world. Pixar’s longtime president Ed Catmull has literally written the book on how the digital film company fosters collective creativity2—there are fixed processes about how a movie idea is generated, critiqued, improved, and perfected. Yet Pixar’s competitors have yet to equal Pixar’s successes. Like Toyota, Southern New Hampshire University has been open with would-be competitors, regularly offering tours and visits to other educational institutions. As President Paul LeBlanc sees it, competition is always possible from well-financed organizations with more powerful brand recognition. But those assets alone aren’t enough to give them a leg up. SNHU has taken years to craft and integrate the right experiences and processes for its students and they would be exceedingly difficult for a would-be competitor to copy. SNHU did not invent all its tactics for recruiting and serving its online students. It borrowed from some of the best practices of the for-profit educational sector. But what it’s done with laser focus is to ensure that all its processes—hundreds and hundreds of individual “this is how we do it” processes—focus specifically on how to best respond to the job students are hiring it for. “We think we have advantages by ‘owning’ these processes internally,” LeBlanc says, “and some of that is tied to our culture and passion for students.

The quintessential "self-made man" (and it is almost always a man) is self-sufficient, confident, stoic, righteously industrious, performatively heterosexual, and power. His success is signified through acquisition--home ownership, marriage, and children--and display of taste and things--craft beer and Courvoisier, Teslas and big trucks, bespoke suits and I-don't-care CEO hoodies. On the surface, it looks like that idea has evolved some. We have our Beyonces, Baracks, and Buttigiegs. But that doesn't mean the American Dream has become liberated from its origins or that its promise of freedom is more free. It just means more of us are permitted entry to the club if we do the double duty of conforming to its standards and continuing to meet the ones set for us--women must lean in, queer couples must get married, people of color must be master code-switchers.

Eh? How 'bout that?" Bill nudged her. "Did I promise to show you love or did I promise to show you love?" "Sure,they seem like they're in love." Luce shrugged. "But-" "But what?Do you have any idea how painful that is? Look at that guy. He makes getting inked look like being caressed by a soft breeze." Luce squirmed on the branch. "Is that the lesson here? Pain equals love?" "You tell me," Bill said. "It may surprise you to hear this,but the ladies aren't exactly banging down Bill's door." "I mean,if I tattooed Daniel's same on my body would that mean I loved him more than I already do?" "It's a symbol,Luce." Bill let out a raspy sigh. "You're being too literal. Think about it this way: Daniel is the first good-looking boy LuLu has ever seen. Until he washed ashore a few months ago, this girl's whole world was her father and a few fat natives." "She's Miranda," Luce said, remembering the love story from The Tempest, which she'd read in her tenth-grade Shakespeare seminar. "How very civilized of you!" Bill pursed his lips with approval. "They are liek Ferdinand and Miranda: The handsome foreigner shipwrecks on her shores-" "So,of course it was love at first sight for LuLu," Luce murmured. This was what she was afraid of: the same thoughtless,automatic love that had bothered her in Helston. "Right," Bill said. "She didn't have a choice but to fall for him.But what's interesting here is Daniel. You see, he didn't have to teach her to craft a woven sail, or gain her father's trust by producing a season's worth of fish to cure,or exhibit C"-Bill pointed at the lovers on the beach-"agree to tattoo his whole body according to her local custom.It would have been enough if Daniel had just shown up.LuLu would have loved him anyway." "He's doing it because-" Luce thought aloud. "Because he wants to earn her love.Because otherwise,he would just be taking advantage of their curse. Because no matter what kind of cycle they're bound to,his love for her is...true.

I here behold a Commander in Chief who looks idle and is always busy; who has no other desk than his knees, no other comb than his fingers; constantly reclined on his couch, yet sleeping neither in night nor in daytime. A cannon shot, to which he himself is not exposed, disturbs him with the idea that it costs the life of some of his soldiers. Trembling for others, brave himself, alarmed at the approach of danger, frolicsome when it surrounds him, dull in the midst of pleasure, surfeited with everything, easily disgusted, morose, inconstant, a profound philosopher, an able minister, a sublime politician, not revengeful, asking pardon for a pain he has inflicted, quickly repairing an injustice, thinking he loves God when he fears the Devil; waving one hand to the females that please him, and with the other making the sign of the cross; receiving numberless presents from his sovereign and distributing them immediately to others; preferring prodigality in giving, to regularity in paying; prodigiously rich and not worth a farthing; easily prejudiced in favor of or against anything; talking divinity to his generals and tactics to his bishops; never reading, but pumping everyone with whom he converses; uncommonly affable or extremely savage, the most attractive or most repulsive of manners; concealing under the appearance of harshness, the greatest benevolence of heart, like a child, wanting to have everything, or, like a great man, knowing how to do without; gnawing his fingers, or apples, or turnips; scolding or laughing; engaged in wantonness or in prayers, summoning twenty aides de camp and saying nothing to any of them, not caring for cold, though he appears unable to exist without furs; always in his shirt without pants, or in rich regimentals; barefoot or in slippers; almost bent double when he is at home, and tall, erect, proud, handsome, noble, majestic when he shows himself to his army like Agamemnon in the midst of the monarchs of Greece. What then is his magic? Genius, natural abilities, an excellent memory, artifice without craft, the art of conquering every heart; much generosity, graciousness, and justice in his rewards; and a consummate knowledge of mankind. There

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

The Obstacles That Lie Before Us There is an old Zen story about a king whose people had grown soft and entitled. Dissatisfied with this state of affairs, he hoped to teach them a lesson. His plan was simple: He would place a large boulder in the middle of the main road, completely blocking entry into the city. He would then hide nearby and observe their reactions. How would they respond? Would they band together to remove it? Or would they get discouraged, quit, and return home? With growing disappointment, the king watched as subject after subject came to this impediment and turned away. Or, at best, tried halfheartedly before giving up. Many openly complained or cursed the king or fortune or bemoaned the inconvenience, but none managed to do anything about it. After several days, a lone peasant came along on his way into town. He did not turn away. Instead he strained and strained, trying to push it out of the way. Then an idea came to him: He scrambled into the nearby woods to find something he could use for leverage. Finally, he returned with a large branch he had crafted into a lever and deployed it to dislodge the massive rock from the road. Beneath the rock were a purse of gold coins and a note from the king, which said: “The obstacle in the path becomes the path. Never forget, within every obstacle is an opportunity to improve our condition.” What holds you back?

The black hole solution of Einstein's equations is also a work of art. The black hole is not as majestic as Godel's proof, but it has the essential features of a work of art: uniqueness, beauty, and unexpectedness. Oppenheimer and Snyder built out of Einstein's equations a structure that Einstein had never imagined. The idea of matter in permanent free fall was hidden in the equations, but nobody saw it until it was revealed in the Oppenheimer-Snyder solution. On a much more humble level, my own activities as a theoretical physicist have a similar quality. When I am working, I feel myself to be practicing a craft rather than following a method. When I did my most important piece of work as a young man, putting together the ideas of Sin-Itiro Tomonaga, Julian Schwinger, and Richard Feynman to obtain a simplified version of quantum electrodynamics, I had consciously in mind a metaphor to describe what I was doing. The metaphor was bridge-building. Tomonaga and Schwinger had built solid foundations on the other side, and my job was to design and build the cantilevers reaching out over the water until they met in the middle. The metaphor was a good one. The bridge that I built is still serviceable and still carrying traffic forty years later. The same metaphor describes well the greater work of unification achieved by Stephen Weinberg and Abdus Salam when they bridged the gap between electrodynamics and the weak interactions. In each case, after the work of unification is done, the whole stands higher than the parts.

I was lucky to receive it. Most rogue interns never get a second chance. And here it’s worth mentioning that I benefited from what was known in 2009 as being fortunate, and is now more commonly called privilege. It’s not like I flashed an Ivy League gang sign and was handed a career. If I had stood on a street corner yelling, “I’m white and male, and the world owes me something!” it’s unlikely doors would have opened. What I did receive, however, was a string of conveniences, do-overs, and encouragements. My parents could help me pay rent for a few months out of school. I went to a university lousy with successful D.C. alumni. No less significantly, I avoided the barriers that would have loomed had I belonged to a different gender or race. Put another way, I had access to a network whether I was bullshit or not. A friend’s older brother worked as a speechwriter for John Kerry. When my Crisis Hut term expired, he helped me find an internship at West Wing Writers, a firm founded by former speechwriters for Bill Clinton and Al Gore. In the summer of 2009, my new bosses upgraded me to full-time employee. Without meaning to, I had stumbled upon the chance to learn a skill. The firm’s partners were four of the best writers in Washington, and each taught me something different. Vinca LaFleur helped me understand the benefits of subtle but well-timed alliteration. Paul Orzulak showed me how to coax speakers into revealing the main idea they hope to express. From Jeff Shesol, I learned that while speechwriting is as much art as craft, and no two sets of remarks are alike, there’s a reason most speechwriters punctuate long, flowy sentences with short, punchy ones. It works.

In the end, ethical interpretation of the Bible means to think critically about how our practices of textual engagement might help us to become both more human and more humane. We are constantly crafting and recrafting ourselves, and the goal is to do so in such a way that we contribute, even if only incrementally, more to the good in the world than to the bad. We think of the point made by Tim Beal (2011, 184), who notes that the etymological root of the word “religion” is typically taken to be the Latin religare, from the verb ligare, meaning “to bind” or “to attach” (ergo our word “ligament”). Religion, in this line of thinking, has to do with being bound to certain doctrines, ideas, or practices. But Beal points out that there is another etymology, suggested by the ancient Roman politician and philosopher Cicero, who proposed that religion derives from the Latin relegere, itself a form of the root legere, “to read” (ergo our words “legible” and even “lectionary”). “Re-ligion” becomes then a process of “re-reading,” and the shaping of a religious life (or more broadly a moral life, or more broadly still just a life) is a continual process of engagement with tradition in the context of present realities. We spoke early on in this book about the “traditioning” process that lies behind the biblical text, the way in which earlier texts and traditions are taken up in later contexts in which they are both preserved and transformed. As a result, Scripture itself presents a rich variety of voices, and sometimes one author or text disagrees with the other. It is an ongoing conversation rather than a set of settled doctrines. And it is our privilege to be invited into that conversation, to become ourselves part of the traditioning process, seeking to bring an unfolding understanding of the good into our present reality.

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.

These negative-sum games of coercion and extortion lead to highly inefficient outcomes, and they can only be avoided by carefully crafting the ex ante rules to avoid such coercion and extortion. These coercive threats that make negative-sum games possible, and that decrease the payoffs of positive-sum games, cannot be neatly distinguished in practice from innocent externalities: any act or omission of one party that harms another, i.e. any externality, doubles as a threat, whether a tiny threat or a large threat, from which an extortion premium, its size depending on the size of the threat, can be extracted. In order to try to distinguish coercion, and the extortion it gives rise to, from an "innocent" externality that can be cured by efficient bargaining, there are ways to exclude some of these extreme possibilities from the prior allocation of rights. And indeed criminal and tort law do this: they distinguish purposeful behavior from negligent, and negligent from the mere unfortunate accident. But any such ex ante distiction contradicts the claim that the Coase Theorem applies to any prior allocation of rights. Voluntary bargaining cannnot give rise to tort and criminal law. Quite the opposite is true: at least a basic tort law is necessary to make voluntary bargaining possible. Tort law (and the associated property law which defines boundaries for the tort of trespass) is logically prior to contract law: good contracts depend on good tort and property law. Without a good tort law already in place, nobody, including the "protection firms" posited by anarcho-capitalism, can engage in the voluntary bargains that are necessary for efficient outcomes. This is not to claim that the polar opposite of anarcho-capitalism must be true, i.e. that "the government" along the lines we are familiar with is necessary. Instead, a system of political property rights that is unbundled and decentralized is possible, and may give rise to many of the benefits (e.g. peaceful competition between jurisdictions) promised by anarcho-capitalism. But political property rights are not based on a Rothbardian assumption of voluntary agreement -- instead, in these systems the procedural law of political property rights, as well as much of substantive property rights and tort law, is prior to contract law, and their origin necessarily involves some degree of coercion. Political and legal systems have not, do not, and cannot originate solely from voluntary contract. Both traditional "social contract" justifications of the state and the Rothbardian idea that contracts can substitute for the state are false: in all cases coercion is involved, both at the origin and in the ongoing practice of legal procedure. In both cases the term "contract" is used, implying voluntary agreement, when the term "treaty", a kind of agreement often forced by coercion, would far more accurately describe the reality. The real task for libertarians and other defenders of sound economics and law is not to try to devise law from purely voluntary origins, an impossible task, but to make sure the ex ante laws make voluntary bargaining possible and discourage coercion and extortion (by any party, including political property rights holders or governments) as much as possible.

Enjoyment requires discernment. It can be a gift to wrap up in a blanket and lose myself in a TV show but we can also amuse ourselves to death. My pleasure in wine or tea or exercise is good in itself but it can become disordered. As we learn to practice enjoyment we need to learn the craft of discernment: How to enjoy rightly, to have, to read pleasure well. There is a symbiotic relationship, cross-training, if you will, between the pleasures we find in gathered worship and those in my tea cup, or in a warm blanket, or the smell of bread baking. Lewis reminds us that one must walk before one can run. We will not be able to adore God on the highest occasions if we have learned no habit of doing so on the lowest. At best our faith and reason will tell us that He is adorable but we shall not have found Him so. These tiny moments of beauty in our day train us in the habits of adoration and discernment, and the pleasure and sensuousness of our gathered worship teach us to look for and receive these small moments in our days, together they train us in the art of noticing and reveling in our God’s goodness and artistry. A few weeks ago I was walking to work, standing on the corner of tire and auto parts store, waiting to cross the street when I suddenly heard church bells begin to ring, loud and long. I froze, riveted. They were beautiful. A moment of transcendence right in the middle of the grimy street, glory next to the discount tire and auto parts. Liturgical worship has been referred to sometimes derisively as smells and bells because of the sensuous ways Christians have historically worshipped: Smells, the sweet and pungent smell of incense, and bells, like the one I heard in neighborhood which rang out from a catholic church. At my church we ring bells during the practice of our eucharist. The acolyte, the person often a child, assisting the priest, rings chimes when our pastor prepares the communion meal. There is nothing magic about these chimes, nothing superstitious, they’re just bells. We ring them in the eucharist liturgy as a way of saying, “pay attention.” They’re an alarm to rouse the congregation to jostle us to attention, telling us to take note, sit up, and lean forward, and notice Christ in our midst. We need this kind of embodied beauty, smells and bells, in our gathered worship, and we need it in our ordinary day to remind us to take notice of Christ right where we are. Dostoevsky wrote that “beauty will save the world.” This might strike us as mere hyperbole but as our culture increasingly rejects the idea and language of truth, the churches role as the harbinger of beauty is a powerful witness to the God of all beauty. Czeslaw Milosz wrote in his poem, “One more day,” “Though the good is weak, beauty is very strong.” And when people cease to believe there is good and evil, only beauty will call to them and save them so that they still know how to say, “this is true and that is false.” Being curators of beauty, pleasure, and delight is therefore and intrinsic part of our mission, a mission that recognizes the reality that truth is beautiful. These moments of loveliness, good tea, bare trees, and soft shadows, or church bells, in my dimness, they jolt me to attention and remind me that Christ is in our midst. His song of truth, sung by His people all over the world, echos down my ordinary street, spilling even into my living room.

my whole career is based on the idea that the formula doesn't matter, the thing that counts is what you do with the formula; that is to say, it is a matter of style.

Finally, don’t be fooled by words like orientate or commentate, misguided back-formations from orientation and commentator; orient and comment do the job just fine. Don’t use big words to gloss over the truth or to pump air into ideas.

While the seven essential elements are a distillation of what we did on an everyday basis, they represent long-term discovery too. An important aspect of this book is the way we built our creative methods as a by-product of the work as we were doing it. As all of us pitched in to make our products, we developed our approach to creating great software. This was an evolution, an outgrowth of our deliberate attention to the task at hand while keeping our end goal in mind. We never waited around for brilliant flashes of insight that might solve problems in one swoop, and we had few actual Eureka! moments. Even in the two instances in my Apple career when I did experience a breakthrough—more about these later—there certainly was no nude streaking across the Apple campus like Archimedes supposedly did. Instead, we moved forward, as a group, in stepwise fashion, from problem to design to demo to shipping product, taking each promising concept and trying to come up with ways to make it better. We mixed together our seven essential elements, and we formulated “molecules” out of them, like mixing inspiration and decisiveness to create initial prototypes, or by combining collaboration, craft, and taste to give detailed feedback to a teammate, or when we blended diligence and empathy in our constant effort to make software people could use without pulling their hair out. As we did all this mixing and combining of our seven essential elements, we always added in a personal touch, a little piece of ourselves, an octessence, and by putting together our goals and ideas and efforts and elements and molecules and personal touches, we formed our approach, an approach I call creative selection.

Newton, a devout Puritan believer, has anecdote that when he claimed that no disciple had God, he refused to claim atheism, saying, "Do not speak disrespectfully about God, I am studying God." He paid much attention to the Bible and had an eschatological belief that the Saints would resurrect and live in heaven and reign with Christ invisibly. And even after the day of judgment, people would continue to live on the ground, thinking that it would be forever, not only for a thousand years. According to historian Steven Snowovell, he thought that the presence of Christ would be in the distant future centuries after, because he was very pessimistic about the deeply rooted ideas that denied the Trinity around him. He thought that before the great tribulation came, the gospel activity had to be on a global scale. 카톡【AKR331】텔레【RDH705】라인【SPR331】위커【SPR705】 믿고 주문해주세요~저희는 제품판매를 고객님들과 신용과신뢰의 거래로 하고있습니다. 24시간 문의상담과 서울 경기지방은 퀵으로도 가능합니다 믿고 주문하시면좋은인연으로 vip고객님으로 모시겠습니다. 원하시는제품있으시면 추천상으로 구입문의 도와드릴수있습니다 ☆100%정품보장 ☆총알배송 ☆투명한 가격 ☆편한 상담 ☆끝내주는 서비스 ☆고객님 정보 보호 ☆깔끔한 거래 포폴,에토미,알약수면제 판매하고있습니다 Newton studied alchemy as a hobby, and his research notes were about three books. Newton served as a member of parliament on the recommendation of the University of Cambridge, but his character was silent and unable to adapt to the life of a parliamentarian. When he lived in the National Assembly for a year, the only thing he said was "Shut the door!" In Newton's "Optics" Volume 4, he tried to introduce the theory of unification that covered all of physics and solved his chosen tasks, but he went out with a candle on his desk, and his private diamond threw a candle There is a story that all of his research, which has not been published yet, has turned to ashes. Newton was also appointed to the president of the Minting Service, who said he enjoyed grabbing and executing the counterfeiters. Newton was a woman who was engaged to be a young man, but because he was so engaged in research and work he could not go on to marriage, and he lived alone for the rest of his life. He regarded poetry as "a kind of ingenious nonsense." [6] Newton was talented in crafting inventions by hand (for reference, Newton's craftsmanship was so good at his childhood that when he was a primary school student he was running his own spinning wheel after school, A child who throws a stone and breaks down a spinning wheel, so there is an anecdote that an angry Newton scatters the child.) He said he created a lantern fountain that could be carried around as a student at Cambridge University. Thanks to this, it was said that students who were going to attend the Thanksgiving ceremony (Episcopal Mass) were able to go to the Anglican Church in the university easily. Newton lost 20,000 pounds due to a South Sea company stock discovery, when "I can calculate the movement of the celestial body, but I can not measure the insanity of a human being" ("I can calculate the movement of the stars, but not the madness of men ").

We’re all “storytellers.” We don’t call ourselves storytellers, but it’s what we do every day. Although we’ve been sharing stories for thousands of years, the skills we needed to succeed in the industrial age were very different from those required today. The ability to sell our ideas in the form of story is more important than ever. Ideas are the currency of the twenty-first century. In the information age, the knowledge economy, you are only as valuable as your ideas. Story is the means by which we transfer those ideas to one another. Your ability to package your ideas with emotion, context, and relevancy is the one skill that will make you more valuable in the next decade. Storytelling is the act of framing an idea as a narrative to inform, illuminate, and inspire. The Storyteller’s Secret is about the stories you tell to advance your career, build a company, pitch an idea, and to take your dreams from imagination to reality. When you pitch your product or service to a new customer, you’re telling a story. When you deliver instructions to a team or educate a class, you’re telling a story. When you build a PowerPoint presentation for your next sales meeting, you’re telling a story. When you sit down for a job interview and the recruiter asks about your previous experience, you’re telling a story. When you craft an e-mail, write a blog or Facebook post, or record a video for your company’s YouTube channel, you’re telling a story. But there’s a difference between a story, a good story, and a transformative story that builds trust, boosts sales, and inspires people to dream bigger.

What I know in my soul is that the prejudice, inequality, and broken systems that do exist are wrong and dangerous. As Americans, they anger and shame so many of us. Personally, I can’t just sit on a couch and watch the news, or run a company, while society erupts, or walk into some form of retirement and be still. On the sidelines is not where most of us want to be. We must see beyond what’s in front of us. We must reimagine the promise of America. How? By using empathy to try to understand, raising our voices to condemn darkness, and casting our votes to choose the kind of leadership we want our grandchildren to grow up with. But we must also use our hard skills and resources to craft a better reality for ourselves, our neighbors and those with whom we share this land. We can protest but also plan. Search for the truth and share it broadly. Listen to others, and blend ideas. Criticize, but also create. It’s time to commit to a deeper level of shared accountability—to neighbor as well as to stranger, and to self. Americans will always have differences, because that is the nature of the republic we have created. But we owe our children a less divisive America, just as many of our parents fought for a less divided country than the one they inherited. It is time for all of us to elevate the best of ourselves. It is time to climb, and to reclaim the high ground. To do so we must make a choice, one that we have made before. It is a choice between renewal or decline. Our country has a history of renewal at moments when we’ve faced decline, but we also know that renewing our nation’s honor is not a forgone conclusion. The future is not going to bend toward America because we’re American. We’re going to have to bend it ourselves, nudge it, move it. At every turn, let us choose to replace meanness with kindness; pettiness with significance; hate with love; gridlock with compromise; complaints with creative solutions. As a nation, we must be tough but not at the expense of one another. So let us also champion and celebrate those with strength of character—the upstanders among us—because there are so many whose daily intentions and actions echo the heroism of the past, who strive for honesty in the present, and who are already reimagining the promise of America, and will do so for years to come. Above all, let us choose to believe in each other because now and always—we are in this together.

According to her, cursed aren’t magick’s natural state. You need to twist the power into that shape, and it will do everything it can to resist you. So you have to mean them. Death curses especially. If your command is weak, the curse won’t work—or worse.” He gave her a pointed look. Isobel nearly rolled her eyes. Meaning a curse was pointless. The sort of idea a villain would fancy. Crafting enchantments was a neutral art. But she wouldn’t tell him that. She was completely powerless in the lair of the tournament’s most infamous champion, alive based only on his mood swings. Survival meant swallowing her insults and forcing a smile. “Maybe you can help, then,” she said, as though she’d offered him the page he’d grabbed from her. He scoffed. “I can’t teach you how to be wicked.

Does quantum physics really say, he asked, that the moon doesn't exist when no one is looking at it? He found the idea that matter was described by probabilities especially upsetting. "God does not play dice with the universe!" he declared. To which Bohr supposedly replied, "Albert, don't tell God what to do.

Newton, a devout Puritan believer, has anecdote that when he claimed that no disciple had God, he refused to claim atheism, saying, "Do not speak disrespectfully about God, I am studying God." He paid much attention to the Bible and had an eschatological belief that the Saints would resurrect and live in heaven and reign with Christ invisibly. And even after the day of judgment, people would continue to live on the ground, thinking that it would be forever, not only for a thousand years. According to historian Steven Snowovell, he thought that the presence of Christ would be in the distant future centuries after, because he was very pessimistic about the deeply rooted ideas that denied the Trinity around him. He thought that before the great tribulation came, the gospel activity had to be on a global scale. 카톡pak6 텔레:【JRJR331】텔레:【TTZZZ6】라인【TTZZ6】 믿고 주문해주세요~저희는 제품판매를 고객님들과 신용과신뢰의 거래로 하고있습니다. 24시간 문의상담과 서울 경기지방은 퀵으로도 가능합니다 믿고 주문하시면좋은인연으로 vip고객님으로 모시겠습니다. 원하시는제품있으시면 추천상으로 구입문의 도와드릴수있습니다 ☆100%정품보장 ☆총알배송 ☆투명한 가격 ☆편한 상담 ☆끝내주는 서비스 ☆고객님 정보 보호 ☆깔끔한 거래 포폴,에토미,알약수면제 판매하고있습니다 Newton studied alchemy as a hobby, and his research notes were about three books. Newton served as a member of parliament on the recommendation of the University of Cambridge, but his character was silent and unable to adapt to the life of a parliamentarian. When he lived in the National Assembly for a year, the only thing he said was "Shut the door!" In Newton's "Optics" Volume 4, he tried to introduce the theory of unification that covered all of physics and solved his chosen tasks, but he went out with a candle on his desk, and his private diamond threw a candle There is a story that all of his research, which has not been published yet, has turned to ashes. Newton was also appointed to the president of the Minting Service, who said he enjoyed grabbing and executing the counterfeiters. Newton was a woman who was engaged to be a young man, but because he was so engaged in research and work he could not go on to marriage, and he lived alone for the rest of his life. He regarded poetry as "a kind of ingenious nonsense." [6] Newton was talented in crafting inventions by hand (for reference, Newton's craftsmanship was so good at his childhood that when he was a primary school student he was running his own spinning wheel after school, A child who throws a stone and breaks down a spinning wheel, so there is an anecdote that an angry Newton scatters the child.) He said he created a lantern fountain that could be carried around as a student at Cambridge University. Thanks to this, it was said that students who were going to attend the Thanksgiving ceremony (Episcopal Mass) were able to go to the Anglican Church in the university easily. Newton lost 20,000 pounds due to a South Sea company stock discovery, when "I can calculate the movement of the celestial body, but I can not measure the insanity of a human being" ("I can calculate the movement of the stars, but not the madness of men ").

Of course, the writer is not the person. The writer is a version of the person who makes a model of the world that may seem to advocate for certain virtues, virtues by which he may not be able to live. ‘Not only is the novelist nobody's spokesman,’ wrote Milan Kundera, ‘but I would go so far as to say he is not even the spokesman for his own ideas. When Tolstoy sketched the first draft of Anna Karenina, Anna was a most unsympathetic woman, and her tragic end was entirely deserved and justified. The final version of the novel is very different, but I do not believe that Tolstoy had revised his moral ideas in the meantime; I would say, rather, that in the course of writing, he was listening to another voice than that of his personal moral conviction. He was listening to what I would like to call the wisdom of the novel. Every true novelist listens for that suprapersonal wisdom, which explains why great novels are always a little more intelligent than their authors. Novelists who are more intelligent than their books should go into another line of work.

The good news was that the smoke, whatever its source, was not getting closer to us. The bad news was that it was moving towards Oban. We wasted no time rowing across the loch. The group we’d already sent over remained visible and clearly busy, though doing what was anybody’s guess from our vantage point in the birlinn. It was getting on past noon, and I hated the idea of leaving the birlinn behind. Crafting it had been a singularly powerful experience, one that I wasn’t sure was repeatable. The birlinn we’d made was unique. In the end, though, it was a boat. It wasn’t alive like the three hundred people we were trying to keep breathing. Not to mention the thousands in Oban who could die. I’d planned to take one of the oars to give a rower a break, but I must have looked haggard. When I’d gone to offer, the bloke with the oar had taken one look at me and said, “Naw, mate.” Sitting on a thwart next to Eilidh, I fervently wished for something to distract me from the radiating warmth on my left. Rowing would at least give me something to do that wasn’t thinking about that heat or second guessing all the decisions we’d made in the past few days. We could have taken the strongest of us and returned to Oban, leaving the other three hundred to take the slower route around the loch. Sure, that was a possibility. But if we’d done that, we’d have left them vulnerable, including the children. That wasn’t acceptable to me or to anyone else. Oban had the advantage of numbers and at least some preparation at this point; the people with us did not. There were any number of things we could be questioning, but if we sat here picking apart the instincts we’d followed, all we’d do was pick up an ulcer. We were still alive. That was all that mattered. I tuned back in to the birlinn to hear a couple of the rowers talking, both of them darting glances at me and Eilidh in the process. “. . . wrecked all of Sackington’s guns and stole his grenades,” one of them said, not really trying to be quiet. Eilidh zeroed in on him like a bloodhound catching a whiff of the quarry. “Yes. We did.” “Erm, he wasn’t saying it was a bad thing!” one of the rowers blurted out. “Yes, I was! We could have used those instead of hitting things with sticks, for fuck’s sake,” the other one said. “No offense.” “Mate, they don’t even work anymore,” I said, and when I could almost see his thoughts pivot to but there’s magic now, I sighed. “We happened to be present when someone figured out how to use their magic to fire a rifle at one of Bawbag’s simulacra. Not only did the bullet literally bounce right back, but it killed his daughter when it ricocheted, and his next shot was dead on. Can you guess what happened then?” “He died,” said the guy who had tried to reassure me they weren’t questioning that decision. He had sandy brown hair that was a mess of waves half stuck to his head with sweat from the exertion, and his muscles were bulging out of his shirt—guess he was getting those Strength increases. “Did he die?” the other bloke asked. “Aye, he might as well have just shot himself in the heart. Even swords bounced right off that damn thing—piercing it with the point seems to be the only thing even marginally successful, and that might be imbuing it with Purifire more than the actual poke.” “I know how to shoot a gun,” Eilidh said bluntly. “And amateurs with firearms tend to hurt much more than they help, let alone in a state of active combat. This isn’t the fucking Wild West.” She sounded Done with a capital D, and I didn’t blame her. To his credit, the bloke seemed to mull that over for a bit before nodding as if ceding the point. Whatever the Ascended Alliance knew about friendly fire of an arcane nature, that did not extend to human-made explosives. If

Rhysand chuckled. 'If you're that desperate for release, you should have asked me.' 'Pig,' I snapped, covering my breasts with the folds of my gown. With a few easy steps, he crossed the distance between us and pinned my arms to the wall. My bones groaned. I could have sworn shadow-talons dug into the stones beside my head. 'Do you actually intend to put yourself at my mercy, or are you truly that stupid?' His voice was composed of sensuous, bone-breaking ire. 'I'm not your slave.' 'You're a fool, Feyre. Do you have any idea what could have happened had Amarantha found you two in here? Tamlin might refuse to be her lover, but she keeps him at her side out of the hope that she'll break him- dominate him as she loves to do with our kind.' I kept silent. 'You're both fools,' he murmured, his breathing uneven. 'How did you not think that someone would notice you were gone? You should thank the Cauldron Lucien's delightful brothers weren't watching you.' 'What do you care?' I barked, and his grip tightened enough on my wrists that I knew my bones would snap with a little more pressure. 'What do I care?' he breathed, wrath twisting his features. Wings- those membranous, glorious wings- flared from his back, crafted from the shadows behind him. 'What do I care?' But before he could go on, his head snapped to the door, then back to my face. The wings vanished as quickly as they had appeared, and then his lips were crushing into mine. His tongue pried my mouth open, forcing himself into me, into the space where I could still taste Tamlin. I pushed and thrashed, but he held firm, his tongue sweeping over the roof of my mouth, against my teeth, claiming my mouth, claiming me- The door was flung wide, and Amarantha's curved figure filled the space. Tamlin- Tamlin was beside her, his eyes slightly wide, shoulders tight as Rhys's lips crushed mine. Amarantha laughed, and a mask of stone slammed down on Tamlin's face, void of feeling, void of anything vaguely like the Tamlin I'd been tangled up with moments before. Rhys casually released me with a flick of his tongue over my bottom lip as a crowd of High Fae appeared behind Amarantha and chimed in with her laughter. Rhysand gave them a lazy, self-indulgent grin and bowed. But something sparked in the queen's eyes as she looked at Rhysand. Amarantha's whore, they'd called him.

In my experience, triggers are the prime reason that men and women end up retreating to gender silos, narrowing their experience and depriving themselves of useful connections. That’s what happened when Jen enlisted Chantal to commiserate with her after the meeting in which Mark received credit for her idea. Sharing her resentment with a female colleague may have temporarily relieved the emotional distress Jen felt at being disregarded. But venting her feelings only reinforced the story she was telling herself to explain what had happened: “Men just can’t listen to women!” This increased the likelihood of her remaining stuck in a negative groove. It’s the stories we tell ourselves when we feel triggered that keep us dug in and limit our ability to frame an effective response. Here’s how the process works: First, the trigger kicks off an emotional reaction that blindsides us. We feel a rush of adrenaline, a sinking in the pit of our stomach, a recoil, a blinding rage, or a snide “of course.” Or we may simply feel confusion. Our immediate impulse may be to lash out. But if we’re in a work situation, we fear what this could cost us, so we try to suppress our feelings and move on. When this doesn’t succeed, we may grab the first opportunity to complain to a sympathetic colleague, which is why so much time at work gets consumed in gripe sessions and unproductive gossip. In this way, our response to triggers plays a role in shaping toxic cultures that set us against one another, justify sniping, and waste everybody’s time. But whether we suffer in silence or indulge the urge to vent, the one thing we almost always do when triggered is try to put what happened in some kind of context. This is where storytelling enters the picture. We craft a narrative based on past experience or perceptions in a way that assigns blame, exonerates us, and magnifies impact. Because these stories make us feel better, we may not stop to question whether they are either accurate or useful. Yet the truth is that our go-to stories rarely serve us well. They are especially damaging when they operate across divides: gender, of course (“Men can’t, women just refuse”), but also race, ethnicity, sexual orientation, and age (“They always, they seem incapable of…”). Because these default stories rely on generalizations and stereotypes, they reinforce any biases we may have. This makes it difficult for us to see others in their particularity; instead, they appear to us as members of a group. In addition, because our go-to stories usually emphasize our own innocence (“I had no idea!” “I never guessed he would…”), they often reinforce our feelings of being aggrieved or victimized—an increasing hazard for men as well as women. Since we can’t control other people, our best path is to acknowledge the emotional and mental impact a trigger has on us. This necessary first step can then enable us to choose a response that enhances our dignity and serves our interests.

everyone is busy making everything, how can anyone perfect anything? We start to confuse convenience with joy. Abundance with choice. Digital infinity. Designing something requires focus. The first thing we ask is: What do we want people to feel? Delight. Surprise. Love. Connection. Then we begin to craft around our intention. It takes time. There are a thousand no’s for every yes. We simplify, we perfect, we start over, until everything we touch enhances each life it touches. —A

My life is ruined! My parents came home last night talking about how the teacher showed them the great essay I wrote. “I never knew you liked camp so much, son,” Dad said. “Yes, Honey. We were going to give you the summer to do whatever you wanted,” my Mom said. “Now that we know you love camp so much, we signed you up to go to camp this summer. There was a camp representative at the Parent-Teacher conference last night, so we signed you up right away.” “We even put down a non-refundable deposit for it too, son,” Dad said. “So, congratulations, you’re going to camp!” OMZ! My life is totally ruined! Now I’m going to spend my summer in the Swamp Biome at camp. Oh man, this is terrible! What am I going to do?!! I decided to ask Steve some advice on how to get out of my terrible situation. I found Steve in a cave crafting some fireworks. All of a sudden, “BOOOOMMM!” All that was left of him were his tools and his weapons. A few minutes later, Steve walked into the cave behind me. I totally understand how he does that trick now. “Hey, Steve!” “Wassup, Zombie?” Steve said. “I have a question for you.” “Shoot!” Steve said. So, I picked up his bow and arrow and I shot him. “Ow! What’d you do that for?” “You told me to shoot,” I said. “Forget about it. What’s your question?” “My Mom and Dad are making me go to camp this summer,” I said. “But I don’t want to go. I’ve got to find a way out of it, and I need your help.” “Why are they sending you to camp?” Steve asked. “Well, I kind of told them I wanted to go.” “And now, you don’t want to go?” Steve asked. “No, I never wanted to go,” I said. Steve just looked at me… Confused. “Well, I thought if I wrote an essay about how much I wanted to go to camp, my Mom and Dad wouldn’t send me to camp,” I said. After I said it out loud, I realized how dumb that idea was. “It sure made sense at the time,” I said. “So, you want to get out of camp, but your parents think you really want to go?” Steve asked. “Yeah.” “Well, you could always get in trouble and they’ll punish you by taking away your summer camp,” Steve said. Man, Steve is so smart. That was the best idea I have ever heard. So, I’ve got to get in trouble so that my parents will punish me by taking camp away. I can do that. I just have to find a class that I can fail this semester, and they’ll punish me for sure if that happens. See, this is why I always go to Steve when I need some good advice.

Association of dissimilar ideas “I had earlier devised an arrangement for beam steering on the two-mile accelerator which reduced the amount of hardware necessary by a factor of two…. Two weeks ago it was pointed out to me that this scheme would steer the beam into the wall and therefore was unacceptable. During the session, I looked at the schematic and asked myself how could we retain the factor of two but avoid steering into the wall. Again a flash of inspiration, in which I thought of the word ‘alternate.’ I followed this to its logical conclusion, which was to alternate polarities sector by sector so the steering bias would not add but cancel. I was extremely impressed with this solution and the way it came to me.” “Most of the insights come by association.” “It was the last idea that I thought was remarkable because of the way in which it developed. This idea was the result of a fantasy that occurred during Wagner…. [The participant had earlier listened to Wagner’s ‘Ride of the Valkyries.’] I put down a line which seemed to embody this…. I later made the handle which my sketches suggested and it had exactly the quality I was looking for…. I was very amused at the ease with which all of this was done.” 10. Heightened motivation to obtain closure “Had tremendous desire to obtain an elegant solution (the most for the least).” “All known constraints about the problem were simultaneously imposed as I hunted for possible solutions. It was like an analog computer whose output could not deviate from what was desired and whose input was continually perturbed with the inclination toward achieving the output.” “It was almost an awareness of the ‘degree of perfection’ of whatever I was doing.” “In what seemed like ten minutes, I had completed the problem, having what I considered (and still consider) a classic solution.” 11. Visualizing the completed solution “I looked at the paper I was to draw on. I was completely blank. I knew that I would work with a property three hundred feet square. I drew the property lines (at a scale of one inch to forty feet), and I looked at the outlines. I was blank…. Suddenly I saw the finished project. [The project was a shopping center specializing in arts and crafts.] I did some quick calculations …it would fit on the property and not only that …it would meet the cost and income requirements …it would park enough cars …it met all the requirements. It was contemporary architecture with the richness of a cultural heritage …it used history and experience but did not copy it.” “I visualized the result I wanted and subsequently brought the variables into play which could bring that result about. I had great visual (mental) perceptibility; I could imagine what was wanted, needed, or not possible with almost no effort. I was amazed at my idealism, my visual perception, and the rapidity with which I could operate.

Sometimes getting your employees to be more creative isn’t the problem. The problem is getting their less-than-imaginative boss to give them the space to invent. Innovation isn’t a linear process. Inventors need the freedom to play with ideas to see what fruit they will bear. A well-meaning boss might think he’s doing his job by keeping his team focused on the most productive areas to explore. But when you insist on knowing what the fruit will be before allowing the play, many of the most revolutionary discoveries might stay undiscovered.

By doing rather than merely studying, we create a culture. Newcomers and the young feed on that culture. They watch. They do. They, too, are changed. Our culture expands. You Americans create a system of thought. The most you ask is that people contemplate new ideas. You might ask them to give or to sometimes attend meetings, but no contagious culture is created. Nothing is offered to newcomers and the young but thoughts. So they think. They don’t do.” We are changed. We craft

Reaching for his water glass, Jack rubbed his thumb over the film of condensation on the outside. Then he shot me a level glance as if taking up a challenge. “My turn,” he said. I smiled, having fun. “You’re going to guess my perfect day? That’s too easy. All it would involve is earplugs, blackout shades, and twelve hours of sleep.” He ignored that. “It’s a nice fall day—” “There’s no fall in Texas.” I reached for a cube of bread with little shreds of basil embedded in it. “You’re on vacation. There’s fall.” “Am I by myself or with Dane?” I asked, dipping a corner of the bread into a tiny dish of olive oil. “You’re with a guy. But not Dane.” “Dane doesn’t get to be part of my perfect day?” Jack shook his head slowly, watching me. “New guy.” Taking a bite of the dense, delicious bread, I decided to humor him. “Where are New Guy and I vacationing?” “New England. New Hampshire, probably.” Intrigued, I considered the idea. “I’ve never been that far north.” “You’re staying in an old hotel with verandas and chandeliers and gardens.” “That sounds nice,” I admitted. “You and the guy go driving through the mountains to see the color of the leaves, and you find a little town where there’s a crafts festival. You stop and buy a couple of dusty used books, a pile of handmade Christmas ornaments, and a bottle of genuine maple syrup. You go back to the hotel and take a nap with the windows open.” “Does he like naps?” “Not usually. But he makes an exception for you.” “I like this guy. So what happens when we wake up?” “You get dressed for drinks and dinner, and you go down to the restaurant. At the table next to yours, there’s an old couple who looks like they’ve been married at least fifty years. You and the guy take turns guessing the secret of a long marriage. He says it’s lots of great sex. You say it’s being with someone who can make you laugh every day. He says he can do both.” I couldn’t help smiling. “Pretty sure of himself, isn’t he?” “Yeah, but you like that about him. After dinner, the two of you dance to live orchestra music.” “He knows how to dance?” Jack nodded. “His mother made him take lessons when he was in grade school.” I forced myself to take another bite of bread, chewing casually. But inside I felt stricken, filled with unexpected yearning. And I realized the problem: no one I knew would have come up with that day for me. This is a man, I thought, who could break my heart.

Experts recommend two hours of unstructured play for every hour of structured play. While your child is playing take half that time for your own play—a craft project, a good novel (or a bad one), looking at catalogs, sitting outside, dancing. If the very idea of “playing” as an adult confuses you, think back to your own childhood and the things that you spent time on and enjoyed doing. Try them again. As with everything else about children’s behavior, there’s nothing like a good role model. If you value play, your child will, too.

For several years, I taught Sunday school in my church. As an object lesson, I distributed several excerpts from recent news articles. I had students read the excerpt and then explain to the class what they believed was happening. One news excerpt stated: The huge black triangular-shaped flying object came silently out of nowhere over the treetops and was gone in seconds. The lights – three on each side – were huge, seemingly as big as cars and bright yellow…. After the craft flew over the Laurie area around 8:30 p.m. Oct. 5, a handful of Laurie area residents questioned what this unidentified object flying in the night sky could be. A second excerpt from another article read: The UFO was spotted by hundreds of witnesses with many believing it was the work of an ‘alien’ craft. One saw orangey-yellow spheres skimming across the sky. Another reported a ‘massive ball of light’ with ‘tentacles going right down to the ground.’ Then witnesses told of an ear splitting bang at 4 a.m. Come dawn the plot thickens. At the nearby wind farm one of the 60ft blades from a 200ft turbine was found ripped off. Another had been left twisted and useless.…the strange goings on at a wind farm in Conisholme, Lincolnshire, can be explained by a flying saucer crashing into the turbine in a close encounter that could, at last, provide the evidence of other life forms they have been waiting for all their lives. After reading the excerpts, I asked the students to explain what the article was about. Hesitantly, the students said the articles were about a UFO sighting and crash; after all, that is specifically what the excerpt said. I then held up a printout of the actual news articles, which were titled respectively, “UFO over Laurie ID’d as stealth bomber” and “Unmanned Stealth Bomber Could Have Been UFO Responsible for Destroying Wind Turbine.” The whole article described a US military exercise with the Stealth bomber. The aircraft crashed into a turbine on the wind farm. The local residents were unfamiliar with the Stealth Bomber and some believed it to be a UFO. The problem in accurately interpreting the news excerpts, for my students, was that I did not give them the full article. They did not understand the background or the whole story so they were left to fill in the gaps with their own ideas and interpretations. Sadly, we often do this same thing when interpreting the Bible. Very few of us are well versed in the customs and traditions of the ancient Jews during Jesus’ time. That background provides a context in which the books of the Bible were written. It is a context that shaped the very foundation of Christianity and it is a context that without, we cannot possibly hope to truly understand what the Bible’s authors were trying to teach us.

Teachers Who Purport to Believe That Writing Can't Be Taught. When you hear a teacher say that writing can't be taught, run to another workshop. Again, the craft of writing — just like the crafts of music, dance, painting, film, theater, etc. — can be taught. Have you ever heard someone say, “Why on earth are you taking piano instruction? Music can't be taught”? Of course not, but you hear this nonsense all the time about writing. What is especially pernicious about this pervasive idiocy is that many of the teachers hired (often by the most high-profile institutions) purport to believe this. Why do I say purport to believe? Because the idea is something that only stupid people would actually believe, and none of these writers is stupid. But if you believe that writing can be taught, then you have to figure out a way to teach it, and that requires work — and a lot of it — even before the workshops begin.

All people said to genius people which now are famous. "That's a bad idea", "Wow you must be an idiot to do that", "How can you devastate your talant with this comics and writting this??". But look now Stephen King (About the comics and the writting in his book "Writting Memoir and Craft he said that the teacher behaved with him like this way)... About the others, this are other people which this days are famous.

Professor Craig Franklin of the University of Queensland mounted a crocodile research partnership with Steve. The idea was to fasten transmitters and data loggers on crocs to record their activity in their natural environment. But in order to place the transmitters, you had to catch the crocs first, and that’s where Steve’s expertise came in. Steve never felt more content than when he was with his family in the bush. “There’s nothing more valuable than human life, and this research will help protect both crocs and people,” he told us. The bush was where Steve felt most at home. It was where he was at his best. On that one trip, he caught thirty-three crocs in fourteen days. He wanted to do more. “I’d really like to have the capability of doing research on the ocean as well as in the rivers,” he told me. “I could do so much more for crocodiles and sharks if I had a purpose-built research vessel.” I could see where he was heading. I was not a big fan of boats. “I’m going to contact a company in Western Australia, in Perth,” he said. “I’m going to work on a custom-built research vessel.” As the wheels turned in his mind, he became more and more excited. “The sky’s the limit, mate,” he said. “We could help tiger sharks and learn why crocs go out to sea. There is no reason why we couldn’t help whales, too.” “Tell me how we can help whales,” I said, expecting to hear about a research project that he and Craig had in mind. “It will be great,” he said. “We’ll build a boat with an icebreaking hull. We’ll weld a can opener to the front, and join Sea Shepherd in Antarctica to stop those whaling boats in their tracks.” When we got back from our first trip to Cape York Peninsula with Craig Franklin, Steve immediately began drawing up plans for his boat. He wanted to make it as comfortable as possible. As he envisioned it, the boat would be somewhere between a hard-core scientific research vessel and a luxury cruiser. He designed three berths, a plasma screen television for the kids, and air-conditioned comfort below deck. He placed a big marlin board off the back, for Jet Skis, shark cages, or hauling out huge crocs. One feature that he was really adamant about was a helicopter pad. He designed the craft so that the helicopter could land on the top. Steve’s design plans went back and forth to Perth for months. “I want this boat’s primary function to be crocodile research and rescue work,” Steve said. “So I’m going to name her Croc One.” “Why don’t we call it For Sale instead?” I suggested. I’m not sure Steve saw the humor in that. Croc One was his baby. But for some reason, I felt tremendous trepidation about this boat. I attributed my feelings of concern to Bindi and Robert. Anytime you have kids on a boat, the rules change--no playing hide-and-seek, no walking on deck without a life jacket on. It made me uncomfortable to think about being two hundred miles out at sea with two young kids. We had had so many wild adventures together as a family that, ultimately, I had to trust Steve. But my support for Croc One was always, deep down, halfhearted at best. I couldn’t shake my feeling of foreboding about it.

Wednesday- Use Your Powers for Good   We all stayed inside the tower last night, eating cake and listening to the rain. We could hear all kinds of mobs outside, but so high up and all of us being together, we never felt in danger.   A few times Courtney noticed the Weather Master had wandered off and was sitting by himself. She always brought him back to the group. Eventually he stayed with us. Once he even smiled.   I snuck away from the group as soon as the sun began to rise. If we were going to stay here, we needed shelter. All of us trying to share the tower wasn’t going to work…Charles snores.   “What are you doing up and about so early?” the Weather Master asked me as he approached from behind. I had already started gathering wood from nearby trees. Courtney and Charles and Dog had come down a little while after me and were off searching for more.   “Building myself a tree house,” I said. “Give me a hand?”   He hesitated. “I’m not sure I could be of much help…”   “I meant stop the rain,” I corrected. “Just for a little while, until I finish the roof.”   He didn’t look like he liked that idea very much. “I’m not sure…”   “Hey now,” I said, putting down my ax and looking him in the eye. “The whole reason we said we’d stay is so we can help you learn to use your powers for good…not evil.”   He thought about that long and hard. “You really think someone like me could learn to use a power like this to…help people?”   “Everybody has something to give,” I said, shrugging. Just then, Charles and Courtney emerged from the trees, both carrying wood and sugarcane, a few small slimes bouncing along behind Courtney as she walked. “Go on. Give it a try.”   We watched through the rain as the Weather Master bounced back up to the top of the tower. Slowly the rain stopped, the clouds cleared, and the sun shone down on us from above.   “Well?” Courtney said. “What are we waiting for? Let’s get these tree houses built before the sun goes down.”   And we did. We’re all sitting in our own houses now, since it’s mostly dark out. The rain hasn’t come back yet, but I can tell the Weather Master is still up there messing with the controls. Lightning flashes across the sky, I realize, in patterns. A light show before bed. For us.   Have you ever crafted something so big and complicated and awesome that you just stand there afterward, in awe of what you have just created with just the materials around you? I have. But definitely nothing as cool and bright as this.   I never thought a slime could change my life, but it did. It brought me and my friends here. We turned a monster into someone good.     How awesome is that???

Apologetics is both a science and an art. It is a science because it deals with the truth found within the various disciplines of knowledge—philosophy, biology, physics, math, and history. It is also an art because each person has the flexibility to craft their arguments however they wish." (Life Hacks, p.85)

Diverse interests are created that view each other as greater enemies than they do foreign threats. Since the common civilizational enemy has been successfully repulsed, it can no longer serve as an effective target for and outlet of people’s sense of superiority, and human psychology generally requires an adversary for the purpose of self-identification, and so a new adversary is crafted: other people in the same civilization. Since this condition of leisure and empowerment, as well as a perception of external threats as non-existential, are the results of a society’s success, success is, ironically, a prerequisite for a society’s self-hatred.46 One

Many of the construction workers chafed at the primitive living conditions. Still, many remember the experience as a great adventure and as their own contribution to winning the war. “It was exciting,” said one many years later. “I had three hots and a cot. I had a good-paying job that wasn’t too hard. I was free to come and go as I pleased, and nobody was shooting at me.” They were patriotic about what they were doing, even though they had no idea what the gigantic plants they were building would make. In 1944, the craft unions organized a campaign to ask everyone for a day’s pay, raising $162,000 in seven weeks. With the funds, the unions bought a four-engine B-17 bomber for the US Army Air Forces. Named “Day’s Pay,” the bomber flew from Boeing Field in Seattle to the Hanford airstrip to be presented to the Fourth Air Force. “This activity, conceived by the workmen and handled by them, . . . was the most effective single morale booster during the job,” Matthias recalled. It did more “to develop an attitude of teamwork and desire to help the war than any other thing.

Before Schopenhauer, the artist was generally seen as someone who manufactured things – things that were admittedly difficult to manufacture, and of a special order, such as concertos, sculptures and plays – but it was still a matter of manufacture. This is, of course, a legitimate point of view – and Schopenhauer would be the last person to overlook the difficulties in conceiving and executing a work of art. (People these days sometimes try to get back to this idea in order to minimize art, to make it a little more harmless, as when novelists are considered as mere story tellers, and contemporary artists chatter about their craft.) But the original point, the generating point of all creation, is fundamentally quite different; it consists in an innate (and thus not teachable) disposition for a passive and, as it were, dumbstruck contemplation of the world. The artist is always someone who might just as well do nothing but immerse himself contentedly in the world and in the vague daydream associated with it. Today, when art has become accessible to the masses and generates considerable financial flows, this has very comical consequences. Thus, the ambitious and enterprising individual with a range of social skills who nurses the ambition to have a career in art will rarely succeed; the palm will always go to pathetic blob-like folk who everyone initially thought were just losers.

Signal similarity. When familiarity is useful or fitting in is the goal, similar language can help. Paying more attention to how our colleagues are using words, for example, and adopting some of their mannerisms should help us thrive at the office. Drive difference. But similarity isn’t always good; there are also benefits to differentiation, particularly if you’re doing a job in which creativity, innovation, or stimulation is valued, standing out might be better. Plot the right progression. Further, when drafting presentations, writing stories, or crafting certain types of content, think about the progression of ideas. Start slowly to make sure the audience is on board before speeding up to increase excitement, particularly when entertainment is the goal. But if your goal is to inform, slowing down but covering more ground is the better way to go.

I started writing songs when I was twelve and since then, it’s been the compass guiding my life, and in turn, my life guided my writing. Everything I do is just an extension of my writing, whether it’s directing videos or a short film, creating the visuals for a tour, or standing on stage performing. Everything is connected by my love of the craft, the thrill of working through ideas and narrowing them down and polishing it all up in the end.

Math—realized I left my homework at Dad’s. Mr. Gower gave me a short-tempered Elliott when I told him that. Mr. Gower is not my favorite. Language Arts—listened to more information about our business project. We’re going to have to make a slideshow, poster, and four-page document just for the proposal. That’s just to get approval—that’s not even the final project! I am trying very hard not to think about it. Lunch—I sit with Gilbert, Kunal, Drew, and Victor because I don’t know what else to do. They don’t say “no offense” at any point, so that’s good. But the entire time they talk about their school project. Victor has the idea to make Kingdom of Krull catapults out of wooden craft sticks. Which, honestly, sounds amazing.

The fact that our understanding of the world—not to mention our sense of ourselves—can be posited to be a fantasmatic construct does not mean that we do not experience it as real; the recognition of the constructed nature of something should not be confused with the idea that it possesses no power over us or that it somehow lacks psychic resonance, for to the degree that fantasmatic constructs over time come to take on the force of reality for us, they function as a means of world-constitution that “actualize” the world for us. Talking about the molding of subjectivity in particular, Anne Anlin Cheng observes that fantasy is not an activity undertaken by an already fully formed subject, but rather (in part at least) what allows the subject to engage in the process of fashioning its identity in the first place; fantasy can be an essential vehicle for the crafting of the kind of identity that feels viable and worthwhile. In Cheng’s words, fantasy is a medium of self-narrativization that “constitutes the subject’s sense of integrity and hence his/her potential for agency.” Fantasy, in this sense, is not the opposite of reality, but rather what brings reality into being; it is “what authenticates realness, what makes reality real.

Before further developing this idea of the two paths (innate confidence or bumping into opportunity), I want to pause and explain more fully what I mean by “not believing in the value of your work.” Some of you probably read that but don’t see yourself on that path when in fact you are. You feel like you have confidence in how you value your work, but the evidence doesn’t support it. There are certain business practices that stand as clear evidence of that lack of belief: Discounting your fees. Modifying your terms. Allowing unusual invoicing procedures. Providing advice before an engagement is crafted. Letting clients determine the problem while just looking to you for transactional solutions. Presenting multiple equally viable solutions and letting clients choose, ceding your expertise. Changing your positioning to fit what prospects want to hear (in presentations and proposals). The list above is truly “business as usual” for experts who see themselves in the service business, but it doesn’t have to be that way. While most follow that path (the ones who try to rub shoulders with more opportunity), some do not (the ones who have a strong innate belief in the value of what they do).

She’d need to find room in her compact kitchen for a high chair. Her second bedroom, which she now used as an office and craft room, would become the baby’s. A sense of excitement filled her, unlike anything she’d ever experienced. This was her baby, her very own child. This time she’d do everything right. This time there wasn’t a man standing in the way. High on enthusiasm, she reached for the phone and dialed her sister’s number. She felt closer to Kelly than she had in years. The weekend getaway had brought them together again, all three of them. How wise her mother had been to arrange it. “I didn’t get you up, did I?” she asked when her sister answered. Tyler bellowed in the background. “That’s a joke, right?” Maryellen smiled. “You doing anything special for lunch?” “Nothing in particular. What do you have in mind?” “Can you meet me at the Pot Belly Deli?” “Sure.” Kelly had the luxury of being a stay-at-home mother. Paul and Kelly had waited years for this baby and were determined to make whatever sacrifices were necessary. That option—staying with her baby—wasn’t available to Maryellen. She’d have to find quality day care and wasn’t sure where to even start. Just before noon, Kelly arrived at the gallery, pushing Tyler in his stroller. At nine months, the little boy sat upright, waving his chubby hands, cooing happily and directing the world from his seat. “Let’s grab some soup from the deli and eat down by the waterfront,” Kelly suggested. It was a lovely spring day after a week of rain, and the fresh air would do them all good. “Sounds like a great idea,” Maryellen told her. Practical, too, since it would be easier to amuse Tyler at the park than in a crowded restaurant. Maryellen phoned in their order and her sister trekked down to grab a picnic table. Several other people had the same idea, but she’d secured a table for them by the time Maryellen got there. Sitting across from her sister, Maryellen opened her container of chicken rice soup and stirred it with a plastic spoon. Cantankerous seagulls circled overhead, squawking for a handout, but Maryellen and Kelly ignored them. “I

But perhaps you would argue that, since you want to be a contemporary poet, you do not want to be too much under the influence of what is old, attaching to the term the idea that old is old hat-out-of-date. You imagine you should surround yourself with the modern only. It is an error. The truly contemporary creative force is something that is built out of the past; but with a difference. Most of what calls itself contemporary is built, whether it knows it or not, out of a desire to be liked. It is created in imitation of what already exists and is already admired. There is, in other words, nothing new about it. To be contemporary is to rise through the stack of the past, like the fire through the mountain. Only a heat so deeply and intelligently born can carry a new idea into the air.

Sell your art, crafts, or any handcrafted item on etsy.com Develop a travel concierge service to help people when they miss their flights Offer online tutoring services in your field of expertise Host a networking event (charge a low ticket price and get sponsors to provide food) Create and sell a visitors’ guide to your town or city, or build a web resource for tourists, supported by advertisers Create an online (or offline) course in some quirky subject you happen to know a lot about Publish a blog with a new lesson on a specific topic every day Start a podcast and sell sponsorship Visit yard sales or thrift shops and buy items to resell Offer a simple freelance service—anything from fact-checking to tech support or something else entirely Become a home, office, or life organizer Manage P.R. or social media accounts for small businesses Buy and sell used textbooks to college students Sell your musings on business, art, or culture as a freelance writer Start a membership website, where people pay a monthly or annual fee to access useful information about a specific topic Write and publish a book (if I can do it, you can too!)

We were doing this shopping search and saying, “We want a test where on this query we want to get 80 percent right answers.” And so they're saying, “Right! So if it's a wrong answer it's a bug, right?” And I said, “No, it's OK to have one wrong answer as long at it's not 80 percent.” So they say, “So a wrong answer's not a bug?” It was like those were the only two possibilities. There wasn't an idea that it's more of a trade-off.

Seibel: So sometimes—maybe even often—your people actually know what they're talking about and you shouldn't interfere too much because you might stomp out a good idea. It's trickier when you're really right and their idea really is a little bit flawed but you don't want to beat up on them too much. Allen: There was some of that. It was often where somebody came in with a knowledge of some area and wanted to apply that knowledge to an ongoing piece of project without having been embedded in the project long enough to know, and often up against a deadline. I ran into it big time doing some subcontracting work. I had a group of people that was doing wonderful work building an optimizer based on the work we've done here for PL/I, a big, different language. But one of the people working for the subcontractor had just discovered object-oriented programming and decided that he would apply it to the extreme. And I couldn't stop him, even though I was the contract overseer, and the project was destroyed.

I have identified seven elements essential to Apple’s software success: Inspiration: Thinking big ideas and imagining what might be possible Collaboration: Working together well with other people and seeking to combine your complementary strengths Craft: Applying skill to achieve high-quality results and always striving to do better Diligence: Doing the necessary grunt work and never resorting to shortcuts or half measures Decisiveness: Making tough choices and refusing to delay or procrastinate Taste: Developing a refined sense of judgment and finding the balance that produces a pleasing and integrated whole Empathy: Trying to see the world from other people’s perspectives and creating work that fits into their lives and adapts to their needs There weren’t any company handbooks describing these elements. Nobody outlined this list in a new-employee orientation. There weren’t any signs affixed to the walls of our Cupertino campus exhorting us to “Collaborate!” On the contrary, we felt, on an instinctive level, that imposing a fixed methodology might snuff out the innovation we were seeking. Therefore, our approach flowed from the work. This happened from the top down, stemming from the unquestioned authority and uncompromising vision of Steve Jobs, and it happened from the ground up, through the daily efforts of designers and programmers you’ve never heard of, people like me and my colleagues, some of whom I’ll tell you about.

The hardest thing is the words, how long it takes, he says, taking a sip of his drink, the concentration you need to work out what goes with what, how to put together a single sentence. I had no idea that shaping a sentence was so difficult, all the possible ways there are to do i, even the simplest sentence, as soon as it's written down, all the hesitations, all the problems. (Mickey Mantle describing writing his memoir.)

If we are most susceptible to a breakdown when stricken by the intense emotions that accompany a way of life under siege, then the first step to ward of a psychological breakdown, is to heed the advice of Henry David Thoreau and “When in doubt, slow down.” If we feel that our emotions are reaching a fever pitch, or spinning us around in circles of dread and despair, we need to somehow interrupt the process before reaching the state of acute panic. The worst way to go about this is to try reason or argue with the emotions, while the best way to deal with this situation is to use some form of activity to relax and to re-centre us. Many people find mindful meditation works well for this purpose, but this is but one of countless activities we can use. Carl Jung, who endured a personal crisis so intense that he flirted with psychosis would draw and paint mandalas to calm his racing mind. Others may find reprieve in weight-lifting, walking, some form of craft or hobby, or a conversation with a calming friend. What is essential is that we have in our arsenal some activities that we can use to re-centre us when our emotions are knocking us too far off kilter. If we really feel overwhelmed one of the best tactics is what Nietzsche called “Russian fatalism”, which is not to do anything at all but just to let go and relax as completely as possible.

Even though medicine is all about facts and data, the driving force of what engages people (employees, investors, customers) is the human story behind what we’re doing. Again and again we have found that crafting it into human terms is the most effective way to engage those three groups.

Someone who doesn’t know. There are lots of people who don’t, in other countries.” “If they come here, you’d think they’d learn,” she said. “It’s stupid to go somewhere and wander around offending their gods and people.” “He was Roman,” I said. Dion snorted. “Which means he didn’t care.” We looked at him, and he went on. “That’s what my father says. He says the Romans don’t care anything for the customs of other people, and that they don’t even want other people to worship their own gods. That the worst thing that can happen to a people is to come under Roman rule.” “Why would you care who your subjects worship?” Cleopatra said practically. “As long as they pay their taxes and don’t rebel? I mean, most people worship Isis and Serapis at least some, but if they don’t it’s not like there’s anything bad that happens to them.” “Like the Jews,” I said, thinking of the most prominent group that didn’t worship Isis and Serapis. Jews had been in Alexandria forever, but there never had been any kind of problem with them. Dion nodded. He looked very serious. “Since Rome annexed Judea four years ago, lots and lots more Jews have come to Alexandria. Haven’t you noticed?” I hadn’t, but didn’t say so. I didn’t know a huge amount about Judea, truth to tell, though of course I knew about Queen Salome, who had only died seven years before and had been the most powerful queen in generations. Since her death, her country had fallen into all kinds of disarray. “The Roman Pompeius Magnus even went into the Temple, into the Holy of Holies,” Dion said. “It was his way of showing that he could do whatever he wanted.” That was serious, I thought. Almost all temples had an inner sanctum, where no one but priests were allowed. It was horribly blasphemous for anyone else to go in, and it certainly would never have occurred to Auletes to do it, even in the temples of our own gods. And it’s always a bad idea to offend other people’s gods. You never knew what might happen. Cleopatra must have been thinking the same thing. “What happened?” she asked. Dion shrugged. “Jews hate Pompeius. And lots and lots have come to Alexandria since then, bringing their money and their crafts.” “And so their economy is hurt and ours benefits,

Inspiration: Thinking big ideas and imagining what might be possible Collaboration: Working together well with other people and seeking to combine your complementary strengths Craft: Applying skill to achieve high-quality results and always striving to do better Diligence: Doing the necessary grunt work and never resorting to shortcuts or half measures Decisiveness: Making tough choices and refusing to delay or procrastinate Taste: Developing a refined sense of judgment and finding the balance that produces a pleasing and integrated whole Empathy: Trying to see the world from other people’s perspectives and creating work that fits into their lives and adapts to their needs

Once Trump had won, a panicked punditburo swung into action, insisting in a crescendo of consensus that trade had little to do with the country’s deindustrialization; that it was pretty much all due to technological factors; that what happened to manufacturing workers was therefore unavoidable. After the dust had settled, many commentators changed their mind on this question, quietly acknowledging the disastrous consequences of ill-crafted trade deals. But what matters for our purposes is the initial reaction, which was virtually unanimous and unfolded along the same lines as in 1896: the rationality of working-class grievances had to be denied.12 The outcome of the 2016 election, the same punditburo insisted, could not and must not be explained by reference to economic factors or to long-term, class-related trends. Yes, lots of Trump voters said they were motivated by economic concerns; yes, Trump talked about economic issues all the time; and yes, the economic stagnation of Trump-voting areas is obvious to anyone who has gone there. And also: every time our post-partisan liberal leaders deregulated banks and then turned around and told working-class people that their misfortunes were attributable to their poor education … every time they did this and then thought to themselves, “They have nowhere else to go” … they made the Trump disaster a little more likely. But to acknowledge those plain facts was to come dangerously close to voicing the intolerable heresy that the D.C. opinion cartel dubbed the “economic anxiety” thesis—the idea that people voted for Trump out of understandable worries about wages or opioids or unemployment or deindustrialization. The reason this was intolerable, one suspects, is because it suggested that there was a rational element to certain groups’ support for Trump and also that there was something less than A+ about the professional-class Camelot over which the Democrats presided for eight years.

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.