Creative Hands Quotes

The painter has the Universe in his mind and hands.

A tragedy is a tragedy, and at the bottom, all tragedies are stupid. Give me a choice and I'll take A Midsummer Night's Dream over Hamlet every time. Any fool with steady hands and a working set of lungs can build up a house of cards and then blow it down, but it takes a genius to make people laugh.

Your greatest creation is your creative life. It's all in your hands.

Human salvation lies in the hands of the creatively maladjusted.

To me, all creativity is magic. Ideas start out in the empty void of your head - and they end up as a material thing, like a book you can hold in your hand. That is the magical process. It's an alchemical thing. Yes, we do get the gold out of it but that's not the most important thing. It's the work itself.

She longed for porch friendship, for the sticky, hot sensation of familiar female legs thrown over hers in companionship. She pined for the girliness of it all, the unplanned, improvisational laziness. She wanted to soak the words 'time management' out of her lexicon. She wanted to hand over, to yield, to let herself float down the unchartered beautiful fertile musky swamp of life, where creativity and eroticism and deep intelligence dwell.

In our work, the question is, how much you absorb from others. So for me, creativity, is really like a relay race. As children we are handed a baton. Rather than passing it onto the next generation as is, first we need to digest it and make it our own.

And so our mothers and grandmothers have, more often than not anonymously, handed on the creative spark, the seed of the flower they themselves never hoped to see - or like a sealed letter they could not plainly read.

Art isn't only a painting. Art is anything that's creative, passionate, and personal. And great art resonates with the viewer, not only with the creator. What makes someone an artist? I don't think is has anything to do with a paintbrush. There are painters who follow the numbers, or paint billboards, or work in a small village in China, painting reproductions. These folks, while swell people, aren't artists. On the other hand, Charlie Chaplin was an artist, beyond a doubt. So is Jonathan Ive, who designed the iPod. You can be an artists who works with oil paints or marble, sure. But there are artists who work with numbers, business models, and customer conversations. Art is about intent and communication, not substances. An artists is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artists takes it personally. That's why Bob Dylan is an artist, but an anonymous corporate hack who dreams up Pop 40 hits on the other side of the glass is merely a marketer. That's why Tony Hsieh, founder of Zappos, is an artists, while a boiler room of telemarketers is simply a scam. Tom Peters, corporate gadfly and writer, is an artists, even though his readers are businesspeople. He's an artists because he takes a stand, he takes the work personally, and he doesn't care if someone disagrees. His art is part of him, and he feels compelled to share it with you because it's important, not because he expects you to pay him for it. Art is a personal gift that changes the recipient. The medium doesn't matter. The intent does. Art is a personal act of courage, something one human does that creates change in another.

As long as I can remember I feel I have had this great creative and spiritual force within me that is greater than faith, greater than ambition, greater than confidence, greater than determination, greater than vision. It is all these combined. My brain becomes magnetized with this dominating force which I hold in my hand.

I looked at my right hand, the hand with which I painted. There was power in that hand. Power to create and destroy. Power to bring pleasure and pain. Power to amuse and horrify. There was in that hand the demonic and the divine at one and the same time. The demonic and the divine were two aspects of the same force. Creation was demonic and divine. Creativity was demonic and divine. I was demonic and divine.

All of our days are numbered; we cannot afford to be idle. To act on a bad idea is better than to not act at all because the worth of the idea never becomes apparent until you do it. Sometimes this idea can be the smallest thing in the world, a little flame that you hunch over and cup with your hand and pray will not be extinguished by all the storm that howls about it. If you can hold on to that flame great things can be constructed around it that are massive and powerful and world changing – all held up by the tinniest of ideas.

I see America, not in the setting sun of a black night of despair ahead of us, I see America in the crimson light of a rising sun fresh from the burning, creative hand of God. I see great days ahead, great days possible to men and women of will and vision

Whatever the source of emotion that drives me to create, I want to give it a form which has some connection with the visible world, even if it is only to wage war on that world....I want my paintings to be able to defend themselves to resist the invader, just as though there were razor blades on all surfaces so no one could touch them without cutting his hands.

Where there is to be creative action, it is quite beside the point to discuss what we should or should not do in order to be right or good. A mind that is single and sincere is not interested in being good, in conducting relations with other people so as to live up to a rule. Nor, on the other hand, is it interested in being free, in acting perversely just to prove its independence. Its interest is not in itself, but in the people and problems of which it is aware; these are “itself.” It acts, not according to the rules, but according to the circumstances of the moment, and the “well” it wishes to others is not security but liberty.

Read poetry every day of your life. Poetry is good because it flexes muscles you don’t use often enough. Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand. And, above all, poetry is compacted metaphor or simile. Such metaphors, like Japanese paper flowers, may expand outward into gigantic shapes. Ideas lie everywhere through the poetry books, yet how rarely have I heard short story teachers recommending them for browsing. What poetry? Any poetry that makes your hair stand up along your arms. Don’t force yourself too hard. Take it easy. Over the years you may catch up to, move even with, and pass T. S. Eliot on your way to other pastures. You say you don’t understand Dylan Thomas? Yes, but your ganglion does, and your secret wits, and all your unborn children. Read him, as you can read a horse with your eyes, set free and charging over an endless green meadow on a windy day.

You can buy a person's hand, but you can't buy his heart. His heart is where his enthusiasm, his loyalty is. You can buy his back, but you can't buy his brain. That's where his creativity is, his ingenuity, his resourcefulness.

Sunset's Passions," he read, and opened the book to a random page to read aloud. "'His hands gently caressed her ivory, silky br- " His eyes widened. "By the Wyrd! Do you actually read this rubbish? What happened to Symbols of Power and Eyllwe Customs and Culture?" ... "You may borrow it when I'm done. If you read it, your literary experience will be complete. And," she added with a coy smile, "it will give you some creative ideas of things to do with your lady friends.

When life held your hand in the flames, it taught you something about the kind of burning you can endure. You survived: don’t forget that, and don’t diminish it. KEEP MOVING.

Whatever happened to our dreams? The infinite possibilities each day holds should stagger the mind. The sheer number of experiences I could have is uncountable, breathtaking, and I'm sitting here refreshing my inbox. We live trapped in loops, reliving a few days over and over, and we envision only a handful of paths laid out ahead of us. We see the same things each day, we respond the same way, we think the same thoughts, each day a slight variation on the last, every moment smoothly following the gentle curves of societal norms. We act like if we just get through today, tomorrow our dreams will come back to us. And no, I don't have all the answers. I don't know how to jolt myself into seeing what each moment could become. But I do know one thing: the solution doesn't involve watering down my every little idea and creative impulse for the sake of someday easing my fit into a mold. It doesn't involve tempering my life to better fit someone's expectations. It doesn't involve constantly holding back for fear of shaking things up. This is very important, so I want to say it as clearly as I can: FUCK. THAT. SHIT.

Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand.

The artist's life cannot be otherwise than full of conflicts, for two forces are at war within him; on the one hand, the common human longing for happiness, satisfaction and security in life and on the other, a ruthless passion for creation which may go so far as to override every personal desire... there are hardly any exceptions to the rule that a person must pay dearly for the divine gift of creative fire.

The two go hand in hand like a dance: chance flirts with necessity, randomness with determinism. To be sure, it is from this interchange that novelty and creativity arise in Nature, thereby yielding unique forms and novel structures.

I am an obscure and patient pearl-fisherman who dives into the deepest waters and comes up with empty hands and a blue face. Some fatal attraction draws me down into the abysses of thought, down into those innermost recesses which never cease to fascinate the strong. I shall spend my life gazing at the ocean of art, where others voyage or fight; and from time to time I’ll entertain myself by diving for those green and yellow shells that nobody will want. So I shall keep them for myself and cover the walls of my hut with them.

The most wonderful inspirations die with their subject, if he has no hand to paint them to the senses.

When you hand good people possibility, they do great things.

I believe that we don't choose our stories," she began, leaning forward. "Our stories choose us." She paused and took a sip of water. Her hand, I noticed was steady.. "And if we don't tell them, then we are somehow diminished.

What is perfection, anyway? It's the death of creativity, that's what I think, while change on the other hand, is the cornerstone of new ideas. God knows I want new ideas and new experiences

The person who possesses the creative gift owns something of which she is not always the master - something that at times strangely wills and works for itself.

Doubting yourself can lead to a sense of hopelessness, of not being inherently fit to take on the task at hand. All or nothing thinking is a nonstarter. However, doubting the quality of your work might, at times, help to improve it. You can doubt your way to excellence.

Those who seek absolute power, even though they seek it to do what they regard as good, are simply demanding the right to enforce their own version of heaven on earth. And let me remind you, they are the very ones who always create the most hellish tyrannies. Absolute power does corrupt, and those who seek it must be suspect and must be opposed. Their mistaken course stems from false notions of equality, ladies and gentlemen. Equality, rightly understood, as our founding fathers understood it, leads to liberty and to the emancipation of creative differences. Wrongly understood, as it has been so tragically in our time, it leads first to conformity and then to despotism. Fellow Republicans, it is the cause of Republicanism to resist concentrations of power, private or public, which enforce such conformity and inflict such despotism. It is the cause of Republicanism to ensure that power remains in the hands of the people.

You will always be the Matriarch—the Queen of Hearts. Your hand rocked my cradle, and you ruled my world.

Go out there and swear to this world your oath, not with your words, but with what you do. Not with your hand over your heart, but with your hand outstretched to a world that desperately needs your hand, your help, your insights, your creativity, your honor, your courage. It needs you.

I wonder if I don't give too much of myself to writing: I am always half where I am; the other half is feeding the furnace, kick-starting the heat of creativity. I am making love with someone but at the same time I'm noticing how this graceful hand across my belly might just fit in with the memory of lilacs in Albuquerque in 1974.

THE SEX & CASH THEORY - The creative person basically has two kinds of jobs: One is the sexy, creative kind. Second is the kind that pays the bills. Sometimes the task in hand covers both bases, but not often. This tense duality will always play center stage. It will never be transcended.

If we are artists- hell, whether or not we're artists- it is our job, our responsibility, perhaps even our sacred calling, to take whatever life has handed us and make something new, something that wouldn't have existed if not for the fire, the genetic mutation, the sick baby, the accident.

For me, the feeling of my hands in the dirt offers a deep, primordial connection with the earth. When I am working the earth, I am at peace. It feels so right and so good.

There is nothing higher-class than real craftsmanship, diversity, originality and the service of skilled human hands.

In the most common fantasy of ideal love, [...], a woman can only unleash her desire in the hands of a man whom she imagines to be more powerful, who does not depend upon her for his strength. [...] The boundedness and limits within which one can surrender, and in which one can experience abandonment and creativity, are sought in the ideal lover. (p. 120)

I was doing something that had become a pattern in my life, and I thought, Well I should go talk to a psychiatrist. When I got into the room, I asked him, 'Do you think that this process could, in any way, damage my creativity?', And he said ´Well, David, I have to be honest; it could´ And I shook his hand and left.

I hate when people act like music is nothing but wild creativity," Logan said. "That's bullshit. It's also about counting and measuring and calibrating. If you do it right." He passed his hand over my MP3 player sitting on the bed between us. It was playing Mozart to help my concentration. "And if you do it really right, no one can tell how hard it is for you. You can let them believe it's magic, because that means you must be magic. You're worth worshipping.

Sidda was tired of being vigilant, alert, sharp. She longed for porch friendship, for the sticky, hot sensation of familiar female legs thrown over hers in companionship. She pined for the girlness of it all, the unplanned, improvisational laziness. She wanted to soak the words "time management" out of her lexicon. She wanted to hand over, to yield, to let herself float down into the uncharted beautiful fertile musky swamp of life, where creativity and eroticism and deep intelligence dwell.

The inward man is faced with a new and often dramatic task: He must come to terms with the inner tremendum. Since the God 'out there' or 'up there' is more or less dissolved in the many secular structures, the God within asks attention as never before. And just as the God outside could be experienced not only as a loving father but also as a horrible demon, the God within can be not only the source of a new creative life but also the cause of a chaotic confusion. The greatest complaint of the Spanish mystics St. Teresa of Avila and St. John of the Cross was that they lacked a spiritual guide to lead them along the right paths and enable them to distinguish between creative and destructive spirits. We hardly need emphasize how dangerous the experimentation with the interior life can be. Drugs as well as different concentration practices and withdrawal into the self often do more harm than good. On the other hand it also is becoming obvious that those who avoid the painful encounter with the unseen are doomed to live a supercilious, boring and superficial life.

I’d stumbled upon the inner sanctuary of a woman who loved the world. Loved the faces of people she saw. Loved the way a hand looked when it was relaxed. Loved the way a woman looked when she touched her own face. The way a man looked when he opened himself to her. Loved the way wind changed a tree or a field or a child’s hair. The beauty of a neck meeting a shoulder. The softness of a smile that wasn’t forced.

There must be some supreme creative energy, he thought, that can take love and turn it into synapses and then take a population of synapses and turn it into love. The hand of God must be there

However, I would like to point out that hard work alone will not bring success. The world is filled with people who have worked hard but have little to show for it. Something more than hard work is necessary: It is creative thinking and firm belief in your ability to execute your ideas. The successful people in history have succeeded through their thinking. Their hands were merely helpers to their brains.

I had no respect whatsoever for the creative works of either the painter or the novelist. I thought Karabekian with his meaningless pictures had entered into a conspiracy with millionaires to make poor people feel stupid. I thought Beatrice Keedsler had joined hands with other old-fashioned storytellers to make people believe that life had leading characters, minor characters, significant details, insignificant details, that it had lessons to be learned, tests to be passed, and a beginning, a middle, and an end.

You can't rely on others—especially your managers and clients—to engage your strengths. In an ideal world, managers would constantly be thinking about how to best utilize their people—and clients would always unearth your greatest potential. Unfortunately, the reality is that bosses and clients are as worried about their own careers as you are about your own. You must take the task of marketing your strengths into your own hands.

It's hard to think when someone's trying to kill you. We human beings aren't wired to be rational and creative when we know our lives are in danger of a swift and violent end. The body has definite ideas of which survival strategies it prefers to embrace, and those are generally limited to "rip threat to pieces" or "run like hell." No thinking need be involved, as far as our instincts are concerned. Our instincts were a long time in the making, though, and the threats that can come after us now have outpaced them. You can't outrun a bullet, and you don't go hand-to-hand with a gunman unless you're certain you are about to die anyway. Speed and mindless aggression weren't going to keep me alive.

Science, in all its greatness, is still subject to human creativity. It starts the first moment a child tries to reach up and grab at the clouds. Soon, the child learns that his own hands cannot reach the sky, but his hands are not the limit of his potential. For the human brain observes, considers, understands, and adapts. Locked within the mind is infinite possibility.

Dorian looked down at the book. "This isn't one of the books that I sent you! I don't even own books like these!" She laughed weakly and took the tea from the servant as she approached. "Of course you don't, Dorian. I had the maids send for a copy today." "Sunset's Passions," he read, and opened the book to a random page to read aloud. "'His hands gently caressed her ivory, silky br-'" His eyes widened. "By the Wyrd! Do you actually read this rubbish? What happened to Symbols and Power and Eyllwe Customs and Culture?" She finished her drink, the ginger tea easing her stomach. "You may borrow it when I'm done. If you read it, you literary experience will be complete. And," she added with a coy smile, "it will give you some creative ideas of things to do with your lady friends." He hissed through his teeth. "I will not read this." She took the book from his hands, leaning back. "Then I suppose you're just like Chaol." "Chaol?" he asked, falling into the trap. "You asked Chaol to read this?" "He refused, of course," she lied. "He said it wasn't right for him to read this sort of material if I gave it to him." Dorian snatched the book from her hands. "Give me that, you demon-woman. I'll not have you matching us against each other." He glanced once more at the novel, then turned it over, concealing the title. She smiled, and resumed watching the falling snow.

Have a fake ID.” I snatched it from his hands and smiled. “Where the heck did you get this?!” His eyes shifted back to Avery. “I know people who know people.” “Burt Summerstone?” I asked, reading his name off the card. He took it back from me and slid it into his pocket. “It’s not about the name, baby girl. It’s about the date. I am officially a twenty-one-year-old high school student. And we are officially getting drunk and crossing that item off of your bucket list. Bow down, bitches.” He pulled out a fake ID for me and I grinned. Summer Burtstone. How creative.

Think of those fingers as abilities. A creative person may write, paint, sculpt, or think up math formulae; he or she might dance or sing or play a musical instrument. Those are the fingers, but creativity is the hand that gives them life. & just as all hands are basically the same - form follows function - all creative people are the same once you get down to the place where the fingers join.

By being a celebrity, you lose your anonymity. It short-circuits your creative powers when people come up and interrupt your train of thought. They consider you completely approachable. And you can't be rude to people, so basically you shut yourself down. I know I do. I shut myself down when people come up and want to shake my hand or want to talk. That's just dead time.

On the other hand, mere critical thinking, without creative and intuitive insights, without the search for new patterns, is sterile and doomed. To solve complex problems in changing circumstances requires the activity of both cerebral hemispheres: the path to the future lies through the corpus callosum.

The darkest night in someone's life may be the brightest day in another person's life. Life rests on perceptions and conceptions or missed perceptions and misconceptions. You can choose to make good things out of every challenging circumstance. In contrast, you can also choose to see nothing in a creative opportunity.

child. This ability to grieve—that is, to give up the illusion of his “happy” childhood, to feel and recognize the full extent of the hurt he has endured—can restore the depressive’s vitality and creativity and free the grandiose person from the exertions of and dependence on his Sisyphean task. If a person is able, during this long process, to experience the reality that he was never loved as a child for what he was but was instead needed and exploited for his achievements, success, and good qualities—and that he sacrificed his childhood for this form of love—he will be very deeply shaken, but one day he will feel the desire to end these efforts. He will discover in himself a need to live according to his true self and no longer be forced to earn “love” that always leaves him empty-handed, since it is given to his false self—something he has begun to identify and relinquish.

And so our mothers and grandmothers have, more often than not anonymously, handed on the creative spark, the seed of the flower they themselves never hoped to see; or like a sealed letter they could not plainly read. Guided by my heritage of a love of beauty and a respect for strength—in search of my mother’s garden, I found my own.

No! I don't want to speak of that! But I'm going to. I want you to hear. I want you to know what's in store for you. There will be days when you'll look at your hands and you'll want to take something and smash every bone in them, because they'll be taunting you with what they could do, if you found a chance for them to do it, and you can't find that chance, and you can't bear your living body because it has failed those hands somewhere. There will be days when a bus driver will snap at you as you enter a bus, and he'll be only asking for a dime, but that won't be what you hear; you'll hear that you're nothing, that he's laughing at you, that it's written on your forehead, that thing they hate you for. There will be days when you'll stand in the corner of a hall and listen to a creature on a platform talking about buildings, about the work you love, and the things he'll say will make you wait for somebody to rise and crack him open between two thumbnails; and then you'll hear people applauding him, and you'll want to scream, because you won't know whether they're real or you are, whether you're in a room full of gored skulls, or whether someone has just emptied your own head, and you'll say nothing, because the sounds you could make - they're not a language in that room any longer; but you'd want to speak, you won't anyway, because you'll be brushed aside, you who have nothing to tell them about buildings! Is that what you want?

Don't think too much. There'll be time to think later. Analysis won't help. You're chiseling now. You're passing your hands over the wood. Now the page is no longer blank. There's something there. It isn't your business yet to know whether it's going to be prize-worthy someday, or whether it will gather dust in a drawer. Now you've carved the tree. You've chiseled the marbled. You've begun.

Language signifies when instead of copying thought it lets itself be taken apart and put together again by thought. Language bears the sense of thought as a footprint signifies the movement and effort of a body. The empirical use of already established language should be distinguished from its creative use. Empirical language can only be the result of creative language. Speech in the sense of empirical language - that is, the opportune recollection of a preestablished sign – is not speech in respect to an authentic language. It is, as Mallarmé said, the worn coin placed silently in my hand. True speech, on the contrary - speech which signifies, which finally renders "l'absente de tous bouquets" present and frees the sense captive in the thing - is only silence in respect to empirical usage, for it does not go so far as to become a common noun. Language is oblique and autonomous, and if it sometimes signifies a thought or a thing directly, that is only a secondary power derived from its inner life. Like the weaver, the writer works on the wrong side of his material. He has only to do with the language, and it is thus that he suddenly finds himself surrounded by sense.

When you've managed to stumble directly into the heart of the unknown - either through the misdirection of others, or better yet, through your own creative ineptitude - there is no one there to hold your hand or tell you what to do. In those bad lost moments, in the times when are advised not to panic, we own the unknown, and the world belongs to us. The child within has full reign. Few of us are ever so free

Long before God the Father, there she was – God the Mother. Where did she vanish to, this great mother goddess? How did we women become so completely dispossessed? It wasn’t that I wanted to replace a male god with a female god; it wasn’t that I wanted to find a religion at all. I was simply looking for some sense that women might have worth. And I found it: there in the old stories of my own native land, I found it. Filled with images of women creating, women weaving the world into being, I took up knitting. Thread by thread, stitch by stitch, I began to knit myself back into being. I had never thought of myself as being a particularly creative soul, but I discovered that creativity was a wide-ranging affair. I simply thought about what brought me joy, and I began to cultivate it. I dug my hands into this strange foreign soil, and I began to grow things. I began to reacquaint myself with the soft animal object that was my body. Slowly, spending more and more time outside, focusing on the wisdom of my senses rather than on what was going on inside my head, I began to weave myself back into the fabric of the Earth. Some

Something else gets under your skin, keeps you working days and nights at the sacrifice of your sleeping and eating and attention to your family and friends, something beyond the love of puzzle solving. And that other force is the anticipation of understanding something about the world that no one has ever understood before you. Einstein wrote that when he first realized that gravity was equivalent to acceleration -- an idea that would underlie his new theory of gravity -- it was the "happiest thought of my life." On projects of far smaller weight, I have experienced that pleasure of discovering something new. It is an exquisite sensation, a feeling of power, a rush of the blood, a sense of living forever. To be the first vessel to hold this new thing. All of the scientists I've known have at least one more quality in common: they do what they do because they love it, and because they cannot imagine doing anything else. In a sense, this is the real reason a scientist does science. Because the scientist must. Such a compulsion is both blessing and burden. A blessing because the creative life, in any endeavor, is a gift filled with beauty and not given to everyone, a burden because the call is unrelenting and can drown out the rest of life. This mixed blessing and burden must be why the astrophysicist Chandrasekhar continued working until his mid-80's, why a visitor to Einstein's apartment in Bern found the young physicist rocking his infant with one hand while doing mathematical calculations with the other. This mixed blessing and burden must have been the "sweet hell" that Walt Whitman referred to when he realized at a young age that he was destined to be a poet. "Never more," he wrote, "shall I escape.

LET MY LOVE ENFOLD YOU in the radiance of My Glory. Sit still in the Light of My Presence, and receive My Peace. These quiet moments with Me transcend time, accomplishing far more than you can imagine. Bring Me the sacrifice of your time, and watch to see how abundantly I bless you and your loved ones. Through the intimacy of our relationship, you are being transformed from the inside out. As you keep your focus on Me, I form you into the one I desire you to be. Your part is to yield to My creative work in you, neither resisting it nor trying to speed it up. Enjoy the tempo of a God-breathed life by letting Me set the pace. Hold My hand in childlike trust, and the way before you will open up step by step. HEBREWS 13:15; 2 CORINTHIANS 3:18; PSALM 73:23–24

Part of the art of creating is in discovering your own kind. They are everywhere. But don't look for them in the wrong places" Henry Miller As you put yourself and your work out there, you will run into your fellow knuckleballers. These are your real peers-the people who share your obsessions, the people who share a similar mission to your own, the people with whom you share a mutual respect. There will only be a handful or so of them, but they're so, so important. Do what you can to nurture your relationships with these people. Show them work before you show anybody else. Keep them as close as you can.

Telling a lie is an act with a sharp focus. It is designed to insert a particular falsehood at a particular point in a set or system of beliefs, in order to have that point occupied by the truth. This requires a degree of craftsmanship, in which the teller of the lie submits to objective constraints imposed by what he takes to be the truth. The liar is inescapably concerned with truth-values. In order to invent a lie at all, he must think he knows what is true. And in order to invent an effective lie, he must design his falsehood under the guidance of that truth. On the other hand, a person who takes to bullshit his way through has much more freedom. His focus is panoramic rather than particular. He does not limit himself to inserting a certain falsehood at a specific point, and thus he is not constrained by the truths surrounding that point or intersecting it. He is prepared, so far as is required, to fake the context as well. This freedom from the constraints to which the liar must submit does not necessarily mean, of course, that his task is easier than the task of the liar. But the mode of creativity upon which it relies is less analytical and less deliberative than that which is mobilized in lying. It is more expansive and independent, with more spacious opportunities for improvisation, color and imaginative play. This is less a matter of craft than of art. Hence the familiar notion of the 'bullshit artist'.

What is art? Art is tar, rearranged. Art is tar on canvas or tar on tarp or tar on a naked body. Art is a bird chirping changed into something visual. Art is an image of a thousand beaks breaking into the office of a quack doctor. I know that doctor, and I've personally spoken to ten of those beaks. Art is rhythm, two hands clapping at a urinal while a third shakes off pee to the beat. Good art stays with you your whole life, especially if that good art is a tattoo. Good art is my name, written backwards, inked on your upper lip in a furry font. Art imitates life, just as life imitates Orafoura. Art can be anything from a Manet to a Monet to a painting of money to a missile. Art can save the world, or devastate it. (We could drop another big bomb on Japan, though I'm not advocating dumping Basquiat paintings on Hiroshima). Art rhymes with a bodily function, and everybody should let their creativity rip everywhere from the privacy of their bathrooms to small heated boxes with four of their closest friends. Art is thinking outside that box, and desperately trying to escape.

This is a hard question. But as women we have a right to ask the hard questions. The only way I have ever understood, broken free, emerged, healed, forgiven, flourished, and grown powerful is by asking the hardest questions and then living into the answers through opening up to my own terror and transmuting it into creativity. I have gotten nowhere by retreating into hand-me-down sureties or resisting the tensions that truth ignited.

And what is this wild summons? What art is asked of us? The gift offered is different for each but all are equal in grandeur. To paint, draw, dance, compose. To write songs, poems, letters, diaries, prayers. To set a violet on the sill, stitch a quilt,; bake bread; plant marigolds, beans, apple trees. To follow the track of the forest elk, the neighborhood coyote, the cupboard mouse. To open the windows, air beds, sweep clean the corners. To hold the child’s hand, listen to the vagrant’s story, paint the elder friend's fingernails a delightful shade of pink while wrapped in a blanket she knit with deft young fingers of her past. To wander paths, nibble purslane, notice spiders. To be rained upon. To listen with changed ears and sing back what we hear.

Still writing?" I usually nod and smile, then quickly change the subject. But here is what I would like to put down my fork and say: Yes, yes, I am. I will write until the day I die, or until I am robbed of my capacity to reason. Even if my fingers were to clench and wither, even if I were to grow deaf or blind, even if I were unable to move a muscle in my body save for the blink of one eye, I would still write. Writing saved my life. Writing has been my window -- flung wide open to this magnificent, chaotic existence -- my way of interpreting everything within my grasp. Writing has extended that grasp by pushing me beyond comfort, beyond safety, past my self-perceived limits. It has softened my heart and hardened my intellect. It has been a privilege. It has whipped my ass. It has burned into me a valuable clarity. It has made me think about suffering, randomness, good will, luck, memory responsibility, and kindness, on a daily basis -- whether I feel like it or not. It has insisted that I grow up. That I evolve. It has pushed me to get better, to be better. It is my disease and my cure. It has allowed me not only to withstand the losses in my life but to alter those losses -- to chip away at my own bewilderment until I find the pattern in it. Once in a great while, I look up at the sky and think that, if my father were alive, maybe he would be proud of me. That if my mother were alive, I might have come up with the words to make her understand. That I am changing what I can. I am reaching a hand out to the dead and to the living and the not yet born. So yes. Yes. Still writing.

The lesson I have to teach is this: Leave all creative energies uninhibited. Merely organize society to act in harmony with this lesson. Let society's legal apparatus remove all obstacles the best it can. Permit these creative know-hows freely to flow. Have faith that free men and women will respond to the Invisible Hand. This faith will be confirmed. I, Pencil, seemingly simple though I am, offer the miracle of my creation as testimony that this is a practical faith, as practical as the sun, the rain, a cedar tree, the good earth.

Succeed at home first. Seek and merit divine help. Never compromise with honesty. Remember the people involved. Hear both sides before judging. Obtain counsel of others. Defend those who are absent. Be sincere yet decisive. Develop one new proficiency a year. Plan tomorrow’s work today. Hustle while you wait. Maintain a positive attitude. Keep a sense of humor. Be orderly in person and in work. Do not fear mistakes—fear only the absence of creative, constructive, and corrective responses to those mistakes. Facilitate the success of subordinates. Listen twice as much as you speak. Concentrate all abilities and efforts on the task at hand, not worrying about the next job or promotion.

A poetess is not as selfish as you assume. After months of agonising over her marriage of words—the bride— and spaces—the groom, she knows that as soon as she has penned the poem, it’s yours to consume. So, without giving it a think, she blows on the ink and the letters fly away like dandelions on a windy day, landing on hands and lips, on hearts and hips. But more often than not, you can easily spot them trodden and forgotten, becoming sodden and rotten. Yet, she will continue to make what’s others to take because selfishness is not the mark of a poetess.

Verbal abuse is a violation, not a conflict. There is a definite difference between conflict and abuse. In a conflict each participant wants something different. In order to resolve the conflict, the two people in the relationship discuss their wants, needs, and reasons while mutually seeking a creative solution. There may or may not be a solution, but no one forces, dominates, or controls the other. Verbal abuse, on the other hand, is very different from a conflict. If we describe verbal abuse from the standpoint of boundary violation, we would describe it as an intrusion upon, or disregard of, one’s self by a person who disregards boundaries in a sometimes relentless pursuit of Power Over, superiority, and dominance by covert or overt means.

When I went to Pixar, I became aware of a great divide. Tech companies don’t understand creativity. They don’t appreciate intuitive thinking, like the ability of an A&R guy at a music label to listen to a hundred artists and have a feel for which five might be successful. And they think that creative people just sit around on couches all day and are undisciplined, because they’ve not seen how driven and disciplined the creative folks at places like Pixar are. On the other hand, music companies are completely clueless about technology. They think they can just go out and hire a few tech folks. But that would be like Apple trying to hire people to produce music. We’d get second-rate A&R people, just like the music companies ended up with second-rate tech people. I’m one of the few people who understands how producing technology requires intuition and creativity, and how producing something artistic takes real discipline.

And was it not perhaps more childlike and human to lead a Goldmund-life, more courageous, more noble perhaps in the end to abandon oneself to the cruel stream of reality, to chaos, to commit sins and accept their bitter consequences rather than live a clean life with washed hands outside the world, laying out a lonely harmonious thought-garden, strolling sinlessly among one's sheltered flower beds. Perhaps it was harder, braver and nobler to wander through forests and along the highways with torn shoes, to suffer sun and rain, hunger and need, to play with the joys of the senses and pay for them with suffering. At any rate, Goldmund had shown him that a man destined for high things can dip into the lowest depths of the bloody, drunken chaos of life, and soil himself with much dust and blood, without becoming small and common, without killing the divine spark within himself, that he can err through the thickest darkness without extinguishing the divine light and the creative force inside the shrine of his soul.

I wrote every day throughout my twenties. For a while, I had a boyfriend who was a musician, and he practiced every day. He played scales; I wrote small fictional scenes. It was the same idea - to keep your hand in your craft, to stay close to it. On bad days, when I felt no inspiration at all, I would set the kitchen timer for thirty minutes and make myself sit there and scribble something, anything. I had read an interview with John Updike where he said that some of the best novels you've ever read were written in an hour a day; I figured I could always carve out at least thirty minutes somewhere to dedicate myself to my work, no matter what else was going on or how badly I believed the work was going.

You know, sometimes I don't understand what's wrong with us. This is just about the most creative and imaginative country on earth—and yet sometimes we just don't seem to have the gumption to exploit our intellectual property. We split the atom, and now we have to get French or Korean scientists to help us build nuclear power stations. We perfected the finest cars on earth—and now Rolls-Royce is in the hands of the Germans. Whatever we invent, from the jet engine to the internet, we find that someone else carts it off and makes a killing from it elsewhere.

When you go home, I want you to remember that you are boundless,” he says. “That your dreams are not limited by anything—not uncertainty. Not what someone else thinks or says. Not what you think you should be doing versus what makes your heart light up.” He cups my face with one of his hands, his thumb stroking down my cheek. “Watching you embrace your passion is beautiful. And I hope you keep doing that, no matter what else might get in the way. You are so creative, so talented—the way your imagination overflows when you’re inspired …” He shakes his head, smiling slightly. “You have this endless well of passion and when you love something, you love it so fiercely. I am in awe of that. I am in awe of you.

Willed introversion, in fact, is one of the classic implements of creative genius and can be employed as a deliberate device. It drives the psychic energies into depth and activates the lost continent of unconscious infantile and archetypal images. The result, of course, may be a disintegration of consciousness more or less complete (neurosis, psychosis: the plight of spellbound Daphne); but on the other hand, if the personality is able to absorb and integrate the new forces, there will be experienced an almost superhuman degree of self-consciousness and masterful control. This is a basic principle of the Indian disciplines of yoga. It has been the way, also, of many creative spirits in the West.25 It cannot be described, quite, as an answer to any specific call. Rather, it is a deliberate, terrific refusal to respond to anything but the deepest, highest, richest answer to the as yet unknown demand of some waiting void within: a kind of total strike, or rejection of the offered terms of life, as a result of which some power of transformation carries the problem to a plane of new magnitudes, where it is suddenly and finally resolved.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

People who live with ADHD are at high risk of addiction, especially adolescents, because of their poorly functioning frontal lobes. Years ago, when the illness was less well understood, doctors and parents were reluctant to give these vulnerable children addictive drugs such as Ritalin and amphetamine. It sounded reasonable: don’t give addictive substances to people at risk for addiction. But rigorous testing showed unambiguously that adolescents who were treated with stimulant drugs were less likely to develop addictions. In fact, those who started the drug at the youngest age and took the highest doses were the least likely to develop problems with illicit drugs. Here’s why: if you strengthen the dopamine control circuit, it’s a lot easier to make wise decisions. On the other hand, if effective treatment is withheld, the weakness of the control circuit is not corrected. The desire circuit acts unopposed, increasing the likelihood of high-risk, pleasure-seeking behavior.

What would you do if you saw something nobody else could see?” The tape gun fell out of Luke’s hand, and hit the tiled hearth. He knelt to pick it up, not looking at her. “You mean if I were the only witness to a crime, that sort of thing?” “No. I mean, if there were other people around, but you were the only one who could see something. As if it were invisible to everyone but you.” He hesitated, still kneeling, the dented tape gun gripped in his hand. “I know it sounds crazy,” Clary ventured nervously, “but…” He turned around. His eyes, very blue behind the glasses, rested on her with a look of firm affection. “Clary, you’re an artist, like your mother. That means you see the world in ways that other people don’t. It’s your gift, to see the beauty and the horror in ordinary things. It doesn’t make you crazy—just different. There’s nothing wrong with being different.

Then Deborah stood at the wicket gate, the boundary, and there was a woman with outstretched hand, demanding tickets. "Pass through," she said when Deborah reached her. "We saw you coming." The wicket gate became a turnstile. Deborah pushed against it and there was no resistance, she was through. "What is it?" she asked. "Am I really here at last? Is this the bottom of the pool?" "It could be," smiled the woman. "There are so many ways. You just happened to choose this one." Other people were pressing to come through. They had no faces, they were only shadows. Deborah stood aside to let them by, and in a moment they had gone, all phantoms. "Why only now, tonight?" asked Deborah. "Why not in the afternoon, when I came to the pool?" "It's a trick," said the woman. "You seize on the moment in time. We were here this afternoon. We're always here. Our life goes on around you, but nobody knows it. The trick's easier by night, that's all." "Am I dreaming, then?" asked Deborah. "No," said the woman, "this isn't a dream. And it isn't death, either. It's the secret world." The secret world... It was something Deborah had always known, and now the pattern was complete. The memory of it, and the relief, were so tremendous that something seemed to burst inside her heart. "Of course..." she said, "of course..." and everything that had ever been fell into place. There was no disharmony. The joy was indescribable, and the surge of feeling, like wings about her in the air, lifted her away from the turnstile and the woman, and she had all knowledge. That was it - the invasion of knowledge. ("The Pool")

Why is it that of every hundred gifted young musicians who study at Juilliard or every hundred brilliant young scientists who go to work in major labs under illustrious mentors, only a handful will write memorable musical compositions or make scientific discoveries of major importance? Are the majority, despite their gifts, lacking in some further creative spark? Are they missing characteristics other than creativity that may be essential for creative achievement—such as boldness, confidence, independence of mind? It takes a special energy, over and above one’s creative potential, a special audacity or subversiveness, to strike out in a new direction once one is settled. It is a gamble as all creative projects must be, for the new direction may not turn out to be productive at all. Creativity involves not only years of conscious preparation and training but unconscious preparation as well. This incubation period is essential to allow the subconscious assimilation and incorporation of one’s influences and sources, to reorganize and synthesize them into something of one’s own. In Wagner’s overture to Rienzi, one can almost trace this emergence. There are echoes, imitations, paraphrases, pastiches of Rossini, Meyerbeer, Schumann, and others—all the musical influences of his apprenticeship. And then, suddenly, astoundingly, one hears Wagner’s own voice: powerful, extraordinary (though, to my mind, horrible), a voice of genius, without precedent or antecedent. The essential element in these realms of retaining and appropriating versus assimilating and incorporating is one of depth, of meaning, of active and personal involvement.

We have arrived at an interesting moment in the evolution of our species when a smart person in a first-world culture is pestered by two contradictory feelings: first that he is as special a creature as nature has yet produced and second that he's not very special at all, just excited matter here for a while and off again into universal dark matter. This first feeling inflates him and makes him want to puff out his chest and preen a bit. This second feeling makes him want to crawl in a hole, act carelessly, or sit inert on the sofa. How unfortunate for a creature to be buffeted in such contradictory ways! These twin feelings lead a person to the following pair of conclusions: that while he is perhaps quite smart, he is nevertheless rather like a cockroach, trapped with a brain that really isn't big enough for his purposes, perhaps trapped in a corner of an academic discipline, a research field, a literary genre, or in some other small place, trapped by his creatureliness, and trapped by life's very smallness. I would like to dub this the god-bug syndrome: the prevalent and perhaps epidemic feeling of greatness walking hand-in-hand with smallness that plagues so many people today.

I sit in my room like Miss Havisham, about whom I have been reading this week. Better the Dickens you know than the Dickens you don't know - on the whole I enjoyed it. But I should like to say something about this 'irrepressible vitality', this 'throwing a fresh handful of characters on the fire when it burns low', in fact the whole Dickens method - it strikes me as being less ebullient, creative, vital, than hectic, nervy, panic-stricken. If he were a person I should say 'You don't have to entertain me, you know. I'm quite happy just sitting here.' This jerking of your attention, with queer names, queer characters, aggressive rhythms, piling on adjectives - seems to me to betray basic insecurity in his relation with the reader. How serenely Trollope, for instance, compares. I say in all seriousness that, say what you like about Dickens as an entertainer, he cannot be considered as a real writer at all; not a real novelist. His is the garish gaslit melodramatic barn (writing that phrase makes me wonder if I'm right!) where the yokels gape: outside is the calm measureless world, where the characters of Eliot, Trollope, Austen, Hardy (most of them) and Lawrence (some of them) have their being.

Modern society is in a state of turbulence brought about, in large part, by political efforts to maintain static, equilibrium conditions; practices that interfere with the ceaseless processes of change that provide the fluctuating order upon which any creative system—such as the marketplace—depends. Institutions, being ends in themselves, have trained us to resist change and favor the status quo; to insist upon the certain and the concrete and to dismiss the uncertain and the fanciful; and to embrace security and fear risk. Life, on the other hand is change, is adaptation, creativity, and novelty. But creativity has always depended upon a fascination with the mysterious, and an appreciation for the kinds of questions that reveal more than answers can ever provide. When creative processes become subordinated to preserving established interests; when the glorification of systems takes priority over the sanctity of individual lives, societies begin to lose their life-sustaining vibrancy and may collapse.

Spirit, like flame, like freedom, like creativeness, is opposed to any social stagnation or any lifeless tradition. In terms of Kantian philosophy — terms which I consider erroneous and confusing — spirit appears as a thing in itself and objectification as a phenomenon. Another and truer definition would be, spirit is freedom and objectification is nature (not in the romantic sense). Objectification has two aspects: on the one hand it denotes the fallen, divided and servile world, in which the existential subjects, the personalities, are materialized. On the other it comprehends the agency of the personal subject, of spirit tending to reinforce ties and communications in this fallen world. Hence objectification is related to the problem of culture, and in this consists the whole complexity of the problem. In objectification there are no primal realities, but only symbols. The objective spirit is merely a symbolism of spirit. Spirit is realistic while cultural and social life are symbolical. In the object there is never any reality, but only the symbol of reality. The subject alone always has reality. Therefore in objectification and in its product, the objective spirit, there can be no sacred reality, but only its symbolism. In the objective history of the world nothing transpires but a conventional symbolism; the idea of sacredness is peculiar to the existential world, to existential subjects. The real depths of spirit are apprehensible only existentially in the personal experience of destiny, in its suffering, nostalgia, love, creation, freedom and death.

Awareness In most of our daily activities we choose the agenda and develop a strategy to achieve the goal at hand. We create the program. Awareness moves differently. The program is happening around us. The world is the doer and we are the witness. We have little or no control over the content. The gift of awareness allows us to notice what’s going on around and inside ourselves in the present moment. And to do so without attachment or involvement. We may observe bodily sensations, passing thoughts and feelings, sounds or visual cues, smells and tastes. Through detached noticing, awareness allows an observed flower to reveal more of itself without our intervention. This is true of all things. Awareness is not a state you force. There is little effort involved, though persistence is key. It’s something you actively allow to happen. It is a presence with, and acceptance of, what is happening in the eternal now. As soon as you label an aspect of Source, you’re no longer noticing, you’re studying. This holds true of any thought that takes you out of presence with the object of your awareness, whether analysis or simply becoming aware that you’re aware. Analysis is a secondary function. The awareness happens first as a pure connection with the object of your attention. If something strikes me as interesting or beautiful, first I live that experience. Only afterward might I attempt to understand it. Though we can’t change what it is that we are noticing, we can change our ability to notice. We can expand our awareness and narrow it, experience it with our eyes open or closed. We can quiet our inside so we can perceive more on the outside, or quiet the outside so we can notice more of what’s happening inside. We can zoom in on something so closely it loses the features that make it what it appears to be, or zoom so far out it seems like something entirely new. The universe is only as large as our perception of it. When we cultivate our awareness, we are expanding the universe. This expands the scope, not just of the material at our disposal to create from, but of the life we get to live.

Triton’s trident, they put the Royals on trial! But as much as Galen would love to throw that in their faces, he won’t. This is his one chance, however small it is, to turn things around for him and Emma. And he’s not about to toss that chance to sea with both hands. Rachel has pulled more chairs out to accommodate the gathering. The table they circle is shinier than Emma’s lip gloss. Unlike the human meetings Galen has attended with Rachel to sell his underwater finds, there is no paperwork on the table, no cups of coffee, no cell phones. Also unlike human meetings, most participants are either dressed in bathing suits or bathrobes. Leave it to Rachel’s creative hospitality. It is a sight Galen will never forget, seeing the elderly council of Archives sit uncomfortably in human chairs. If the situation weren’t so dire, he’d have to laugh. Especially since Tandel’s bathrobe has the human symbol of peace all over it in fluorescent colors. “Thank you for coming,” Galen says. He takes his place next to Grom, who sits at the head of the table. Appropriately, Antonis sits at the head of the other end, accompanied by Rayna and Toraf. Emma is at Galen’s left side. He doesn’t need to look at her to know she’s scowling at him.

In all of these areas, the human brain is asked to do and handle more than ever before. We are dealing with several fields of knowledge constantly intersecting with our own, and all of this chaos is exponentially increased by the information available through technology. What this means is that all of us must possess different forms of knowledge and an array of skills in different fields, and have minds that are capable of organizing large amounts of information. The future belongs to those who learn more skills and combine them in creative ways. And the process of learning skills, no matter how virtual, remains the same. In the future, the great division will be between those who have trained themselves to handle these complexities and those who are overwhelmed by them—those who can acquire skills and discipline their minds and those who are irrevocably distracted by all the media around them and can never focus enough to learn. The Apprenticeship Phase is more relevant and important than ever, and those who discount this notion will almost certainly be left behind. Finally, we live in a culture that generally values intellect and reasoning with words. We tend to think of working with the hands, of building something physical, as degraded skills for those who are less intelligent. This is an extremely counterproductive cultural value. The human brain evolved in intimate conjunction with the hand. Many of our earliest survival skills depended on elaborate hand-eye coordination. To this day, a large portion of our brain is devoted to this relationship. When we work with our hands and build something, we learn how to sequence our actions and how to organize our thoughts. In taking anything apart in order to fix it, we learn problem-solving skills that have wider applications. Even if it is only as a side activity, you should find a way to work with your hands, or to learn more about the inner workings of the machines and pieces of technology around you. Many Masters

Two aspects of thinking in particular are pronounced in both creative and hypomanic thought: fluency, rapidity, and flexibility of thought on the one hand, and the ability to combine ideas or categories of thought in order to form new and original connections on the other. The importance of rapid, fluid, and divergent thought in the creative process has been described by most psychologists and writers who have studied human imagination. The increase in the speed of thinking may exert its influence in different ways. Speed per se, that is, the quantity of thoughts and associations produced in a given period of time, may be enhanced. The increased quantity and speed of thoughts may exert an effect on the qualitative aspects of thought as well; that is, the sheer volume of thought can produce unique ideas and associations. Indeed, Sir Walter Scott, when discussing Byron's mind, commented: "The wheels of a machine to play rapidly must not fit with the utmost exactness else the attrition diminishes the Impetus." The quickness and fire of Byron's mind were not lost on others who knew him. One friend wrote: "The mind of Lord Byron was like a volcano, full of fire and wealth, sometimes calm, often dazzling and playful, but ever threatening. It ran swift as the lightning from one subject to another, and occasionally burst forth in passionate throes of intellect, nearly allied to madness." Byron's mistress, Teresa Guiccoli, noted: "New and striking thoughts followed from him in rapid succession, and the flame of genius lighted up as if winged with wildfire.

I soon saw, however, that Creed's obsession with death was typical of most of the children. This came out in their play. "Let's play funeral" was a favorite game at recess. To me, it seemed bizarre and mawkish play. All that saved it was the spontaneous creativity of the children and the fact that, unerringly, they caught the incongruities and absurdities of their elders. One child would be elected to be "dead" and would lay himself out on the ground, eyes closed, hands dutifully crossed across his chest. Another would be chosen to be the "preacher," all the rest, "mourners." I remember one day when Sam Houston Holcomb was the "corpse" and Creed Allen, always the class clown of the group, was elected "preacher." Creed, already at ten an accomplished mimic, was turning in an outstanding performance. I stood watching, half-hidden in the shado of the doorway. Creed (bellowing in stentorian tones): "You-all had better stop your meanness and I'll tell you for why. Praise the Lord! If you'uns don't stop being so defend ornery, you ain't never goin' gift to see Brother Holcomb on them streets paved with rubies and such-like, to give him the time of day, 'cause you'uns are goin' to be laid out on the coolin' board and then roasted in hellfire." The "congregation" shivered with delight, as if they were hearing a deliciously scary ghost story. The corpse opened one eye to see how his mourners were taking this blast; he sighed contentedly at their palpitations; wriggled right leg where a fly was tickling; adjusted grubby hands more comfortably across chest. Creed then grasped his right ear with his right hand and spat. Only there wasn't enough to make the stream impressive. So preacher paused, working his mouth vigorously, trying to collect more spit. Another pucker and heave. Ah! Better! Sermon now resumed: "Friends and neighbors, we air lookin' on Brother Holcombe's face for the last time." (Impressive pause.). "Praise the Lord! We ain't never goin' see him again in this life." (Impressive pause.). "Praise the Lord!" Small preacher was now really getting warmed up. He remembered something he must have heard at the last real funeral. Hearty spit first, more pulling of ear: "You air enjoyin' life now, folks. Me, I used to git pleasured and enjoy life too. But now that I've got religion, I don't enjoy life no more." At this point I retreated behind the door lest I betray my presence by laughing aloud.

The nightmare takes various forms, comes in sleep, or in wakefulness, and can be pictured most simply like this: There is a blindfolded man standing with his back to the brick wall. He has been tortured nearly to death. Opposite him are six men with their rifles raised ready to shoot, commanded by a seventh, who has his hand raised, When he drops his hand, the shots will ring out, and the prisoner will fall dead. But suddenly there is something unexpected—yet not altogether unexpected, for the seventh has been listening all this while in case it happens. There is an outburst of shouting and fighting in the street outside. The six men look in query at their officer, the seventh. The officer stands waiting to see how the fighting outside will resolve itself. There is a shout: ‘We have won!’ At which the officer crosses the space to the wall, unties the bound man, and stands in his place. The man, hitherto bound, now binds the other. There is a moment, and this is the moment of horror in the nightmare, when they smile at each other: It is a brief, bitter, accepting smile. They are brothers in that smile. The smile holds a terrible truth that I want to evade. Because it cancels all creative emotion. The offer, the seventh, now stands blindfolded and waiting with his back to the wall. The former prisoner walks to the firing squad who are still standing with their weapons ready. He lifts his hand, then drops it. The shots ring out, and the body by the wall falls twitching. The six soldiers are shaken and sick; now they will go and drink to drown the memory of their murder. But the man who was bound, is now free, smiles as they stumble away, cursing and hating him, just as they would have cursed and hated the other, now dead. And in this man’s smile at the six innocent soldiers there is a terrible understanding irony. This is the nightmare.

Another example is the modern political order. Ever since the French Revolution, people throughout the world have gradually come to see both equality and individual freedom as fundamental values. Yet the two values contradict each other. Equality can be ensured only by curtailing the freedoms of those who are better off. Guaranteeing that every individual will be free to do as he wishes inevitably short-changes equality. The entire political history of the world since 1789 can be seen as a series of attempts to reconcile this contradiction. Anyone who has read a novel by Charles Dickens knows that the liberal regimes of nineteenth-century Europe gave priority to individual freedom even if it meant throwing insolvent poor families in prison and giving orphans little choice but to join schools for pickpockets. Anyone who has read a novel by Alexander Solzhenitsyn knows how Communism’s egalitarian ideal produced brutal tyrannies that tried to control every aspect of daily life. Contemporary American politics also revolve around this contradiction. Democrats want a more equitable society, even if it means raising taxes to fund programmes to help the poor, elderly and infirm. But that infringes on the freedom of individuals to spend their money as they wish. Why should the government force me to buy health insurance if I prefer using the money to put my kids through college? Republicans, on the other hand, want to maximise individual freedom, even if it means that the income gap between rich and poor will grow wider and that many Americans will not be able to afford health care. Just as medieval culture did not manage to square chivalry with Christianity, so the modern world fails to square liberty with equality. But this is no defect. Such contradictions are an inseparable part of every human culture. In fact, they are culture’s engines, responsible for the creativity and dynamism of our species. Just

When Leonardo was painting The Last Supper (fig. 74), spectators would visit and sit quietly just so they could watch him work. The creation of art, like the discussion of science, had become at times a public event. According to the account of a priest, Leonardo would “come here in the early hours of the morning and mount the scaffolding,” and then “remain there brush in hand from sunrise to sunset, forgetting to eat or drink, painting continually.” On other days, however, nothing would be painted. “He would remain in front of it for one or two hours and contemplate it in solitude, examining and criticizing to himself the figures he had created.” Then there were dramatic days that combined his obsessiveness and his penchant for procrastination. As if caught by whim or passion, he would arrive suddenly in the middle of the day, “climb the scaffolding, seize a brush, apply a brush stroke or two to one of the figures, and suddenly depart.”1 Leonardo’s quirky work habits may have fascinated the public, but they eventually began to worry Ludovico Sforza. Upon the death of his nephew, he had become the official Duke of Milan in early 1494, and he set about enhancing his stature in a time-honored way, through art patronage and public commissions. He also wanted to create a holy mausoleum for himself and his family, choosing a small but elegant church and monastery in the heart of Milan, Santa Maria delle Grazie, which he had Leonardo’s friend Donato Bramante reconstruct. For the north wall of the new dining hall, or refectory, he had commissioned Leonardo to paint a Last Supper, one of the most popular scenes in religious art. At first Leonardo’s procrastination led to amusing tales, such as the time the church prior became frustrated and complained to Ludovico. “He wanted him never to lay down his brush, as if he were a laborer hoeing the Prior’s garden,” Vasari wrote. When Leonardo was summoned by the duke, they ended up having a discussion of how creativity occurs. Sometimes it requires going slowly, pausing, even procrastinating. That allows ideas to marinate, Leonardo explained. Intuition needs nurturing. “Men of lofty genius sometimes accomplish the most when they work least,” he told the duke, “for their minds are occupied with their ideas and the perfection of their conceptions, to which they afterwards give form.

Some gifted people have all five and some less. Every gifted person tends to lead with one. As I read this list for the first time I was struck by the similarities between Dabrowski’s overexcitabilities and the traits of Sensitive Intuitives. Read the list for yourself and see what you identify with: Psychomotor This manifests as a strong pull toward movement. People with this overexcitability tend to talk rapidly and/or move nervously when they become interested or passionate about something. They have a lot of physical energy and may run their hands through their hair, snap their fingers, pace back and forth, or display other signs of physical agitation when concentrating or thinking something out. They come across as physically intense and can move in an impatient, jerky manner when excited. Other people might find them overwhelming and they’re routinely diagnosed as ADHD. Sensual This overexcitability comes in the form of an extreme sensitivity to sounds, smells, bright lights, textures and temperature. Perfume and scented soaps and lotions are bothersome to people with this overexcitability, and they might also have aversive reactions to strong food smells and cleaning products. For me personally, if I’m watching a movie in which a strobe light effect is used, I’m done. I have to shut my eyes or I’ll come down with a headache after only a few seconds. Loud, jarring or intrusive sounds also short circuit my wiring. Intellectual This is an incessant thirst for knowledge. People with this overexcitability can’t ever learn enough. They zoom in on a few topics of interest and drink up every bit of information on those topics they can find. Their only real goal is learning for learning’s sake. They’re not trying to learn something to make money or get any other external reward. They just happened to have discovered the history of the Ming Dynasty or Einstein’s Theory of Relativity and now it’s all they can think about. People with this overexcitability have intellectual interests that are passionate and wide-ranging and they study many areas simultaneously. Imaginative INFJ and INFP writers, this is you. This is ALL you. Making up stories, creating imaginary friends, believing in Santa Claus way past the ordinary age, becoming attached to fairies, elves, monsters and unicorns, these are the trademarks of the gifted child with imaginative overexcitability. These individuals appear dreamy, scattered, lost in their own worlds, and constantly have their heads in the clouds. They also routinely blend fiction with reality. They are practically the definition of the Sensitive Intuitive writer at work. Emotional Gifted individuals with emotional overexcitability are highly empathetic (and empathic, I might add), compassionate, and can become deeply attached to people, animals, and even inanimate objects, in a short period of time. They also have intense emotional reactions to things and might not be able to stomach horror movies or violence on the evening news. They have most likely been told throughout their life that they’re “too sensitive” or that they’re “overreacting” when in truth, they are expressing exactly how they feel to the most accurate degree.

Why do we bury our dead?” His nose was dented in at the bridge like a sphinx; the cause of which I could only imagine had been a freak archaeological accident. I thought about my parents. They had requested in their will that they be buried side by side in a tiny cemetery a few miles from our house. “Because it’s respectful?” He shook his head. “That’s true, but that’s not the reason we do it.” But that was the reason we buried people, wasn’t it? After gazing at him in confusion, I raised my hand, determined to get the right answer. “Because leaving people out in the open is unsanitary.” Mr. B. shook his head and scratched the stubble on his neck. I glared at him, annoyed at his ignorance and certain that my responses were correct. “Because it’s the best way to dispose of a body?” Mr. B. laughed. “Oh, but that’s not true. Think of all the creative ways mass murderers have dealt with body disposal. Surely eating someone would be more practical than the coffin, the ceremony, the tombstone.” Eleanor grimaced at the morbid image, and the mention of mass murderers seemed to wake the rest of the class up. Still, no one had an answer. I’d heard Mr. B. was a quack, but this was just insulting. How dare he presume that I didn’t know what burials meant? I’d watched them bury my parents, hadn’t I? “Because that’s just what we do,” I blurted out. “We bury people when they die. Why does there have to be a reason for everything?” “Exactly!” Mr. B. grabbed the pencil from behind his ear and began gesticulating with it. “We’ve forgotten why we bury people. “Imagine you’re living in ancient times. Your father dies. Would you randomly decide to put him inside a six-sided wooden box, nail it shut, then bury it six feet below the earth? These decisions aren’t arbitrary, people. Why a six-sided box? And why six feet below the earth? And why a box in the first place? And why did every society throughout history create a specific, ritualistic way of disposing of their dead?” No one answered. But just as Mr. B. was about to continue, there was a knock on the door. Everyone turned to see Mrs. Lynch poke her head in. “Professor Bliss, the headmistress would like to see Brett Steyers in her office. As a matter of urgency.” Professor Bliss nodded, and Brett grabbed his bag and stood up, his chair scraping against the floor as he left. After the door closed, Mr. B. drew a terrible picture of a mummy on the board, which looked more like a hairy stick figure. “The Egyptians used to remove the brains of their dead before mummification. Now, why on earth would they do that?” There was a vacant silence. “Think, people! There must be a reason. Why the brain? What were they trying to preserve?” When no one answered, he answered his own question. “The mind!” he said, exasperated. “The soul!” As much as I had planned on paying attention and participating in class, I spent the majority of the period passing notes with Eleanor. For all of his enthusiasm, Professor Bliss was repetitive and obsessed with death and immortality. When he faced the board to draw the hieroglyphic symbol for Ra, I read the note Eleanor had written me. Who is cuter? A. Professor Bliss B. Brett Steyers C. Dante Berlin D. The mummy I laughed. My hand wavered between B and C for the briefest moment. I wasn’t sure if you could really call Dante cute. Devastatingly handsome and mysterious would be the more appropriate description. Instead I circled option D. Next to it I wrote Obviously! and tossed it onto her desk when no one was looking.