Creativity Best Quotes

Creative minds are uneven, and the best of fabrics have their dull spots.

When I am ..... completely myself, entirely alone... or during the night when I cannot sleep, it is on such occasions that my ideas flow best and most abundantly. Whence and how these ideas come I know not nor can I force them.

You’re mad, bonkers, completely off your head. But I’ll tell you a secret. All the best people are.

Blessed are the weird people: poets, misfits, writers mystics, painters, troubadours for they teach us to see the world through different eyes.

The artist, and particularly the poet, is always an anarchist in the best sense of the word. He must heed only the call that arises within him from three strong voices: the voice of death, with all its foreboding, the voice of love and the voice of art.

We must be careful not to discourage our twelve-year-olds by making them waste the best years of their lives preparing for examinations.

God will not pour fresh, creative ideas and blessing into old attitudes.

I feel such a creative force in me: I am convinced that there will be a time when, let us say, I will make something good every day , on a regular basis....I am doing my very best to make every effort because I am longing so much to make beautiful things. But beautiful things mean painstaking work, disappointment, and perseverance.

All that matters is that you are making something you love, to the best of your ability, here and now.

My life will be the best illustration of all my work.

The best advice is not to write what you know, it’s to write what you like. Write the kind of story you like best—write the story you want to read. The same principle applies to your life and your career:

I've always felt that the best whips and chains are in the mind. With a little creativity, the physical ones are hardly necessary.

Originality is the best form of rebellion.

Totalitarianism in power invariably replaces all first-rate talents, regardless of their sympathies, with those crackpots and fools whose lack of intelligence and creativity is still the best guarantee of their loyalty.

The best ideas will eat at you for days, maybe even weeks, until something, some incident, some impulse, triggers you to finally express them.

When put to the best use, poetry has not only the power to stir one’s emotions and thoughts, but also the soul itself!

People wonder why so many writers come to live in Paris. I’ve been living ten years in Paris and the answer seems simple to me: because it’s the best place to pick ideas. Just like Italy, Spain.. or Iran are the best places to pick saffron. If you want to pick opium poppies you go to Burma or South-East Asia. And if you want to pick novel ideas, you go to Paris.

When one does a thing, it appears good, otherwise one would not write it. Only later comes reflection, and one discards or accepts the thing. Time is the best censor, and patience a most excellent teacher.

In the beginning, poets make their best efforts to fit words into their rhyme and lyric. However, as time passes and the ink mystifies, poets tend to let their thoughts conjure a rhyme in tune with the extraordinary struggles of ordinary life.

Suddenly I wanted to get better. Mania wasn't fun anymore. It wasn't creative or visionary. It was mean parody at best, a cheap chemical trick. I needed to stop and get better. I'd take whatever they gave me, I pledged silently. I'd take Trilafon or Thorazine or whatever. I just wanted to sleep.

But life at its best is a creative synthesis of opposites in fruitful harmony.

Actually, writers have no business writing about their own works. They either wax conceited, saying things like: 'My brilliance is possibly most apparent in my dazzling short story, "The Cookiepants Hypotenuse."' Or else they get unbearably cutesy: 'My cat Ootsywootums has given me all my best ideas, hasn't oo, squeezums?

Some of this book—perhaps too much—has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it—and perhaps the best of it—is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.

Our shadow is simultaneously our past and "inner child," representing the essence of our vulnerability, creativity, and emotional core shaped by our experiences. It is our best friend, guiding us through the vagaries of life, giving us expectations, and opening new skylines. (“Not without my shadow »)

I came on the old and best ways of writing through ignorance and experiment and was startled when truths leaped out of brushes like quail before gunshot.

And being different? That turned out to be the best part of all. I found that with a little creativity, and a lot of dedication, any difference can be turned into something amazing. Our differences are our superpowers.

Criticism at its best is re-creative, not spirit-killing.

The best life for a writer is the life which helps him write the best books he can.

From now on I hope always to stay alert, to educate myself as best I can. But lacking this, in Future I will relaxedly turn back to my secret mind to see what it has observed when I thought I was sitting this one out. We never sit anything out. We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out.

In this new economy, three groups will have a particular advantage: those who can work well and creatively with intelligent machines, those who are the best at what they do, and those with access to capital.

I find it so much easier to be creatively free at night. Daytime is for sleeping. Nighttime is the best time for making art. The later at night it gets the further into another world you go.

Just because you feel lost doesn't mean that you are. Sometimes you just have to relax, breathe deep, and trust the path you're on.

The best way to predict the future is to invent it.

The first job of a leader—at work or at home—is to inspire trust. It’s to bring out the best in people by entrusting them with meaningful stewardships, and to create an environment in which high-trust interaction inspires creativity and possibility.

Don’t try to be hip or cool. Being open and honest about what you like is the best way to connect with people who like those things, too.

We always do the best we can by the light we have to see by.

Quality is the best business plan.

All writing problems are psychological problems. Blocks usually stem from the fear of being judged. If you imagine the world listening, you'll never write a line. That's why privacy is so important. You should write first drafts as if they will never be shown to anyone.

I believe that true identity is found . . . in creative activity springing from within. It is found, paradoxically, when one loses oneself. Woman can best refind herself in some kind of creative activity of her own.

The best advice is not to write what you know, it’s to write what you like. Write the kind of story you like best—write the story you want to read.

Every man has a specific skill, whether it is discovered or not, that more readily and naturally comes to him than it would to another, and his own should be sought and polished. He excels best in his niche - originality loses its authenticity in one's efforts to obtain originality.

It has always been simple, but making it hard was always your way of avoiding pain. If you want to change your life, you have to change what you are doing. It wasn't his fault, her fault, their fault or the circumstances. It was your inability to choose. So, life chose for you. Somewhere in that crazy mind of yours time stopped. You thought someone would rescue you, but they didn't. You have to rescue yourself. This is not a fire you can put out; you have to walk through it, in order to reach life. Getting burned is apart of growth, didn't you know?

You don’t need fashion designers when you are young. Have faith in your own bad taste. Buy the cheapest thing in your local thrift shop - the clothes that are freshly out of style with even the hippest people a few years older than you. Get on the fashion nerves of your peers, not your parents - that is the key to fashion leadership. Ill-fitting is always stylish. But be more creative - wear your clothes inside out, backward, upside down. Throw bleach in a load of colored laundry. Follow the exact opposite of the dry cleaning instructions inside the clothes that cost the most in your thrift shop. Don’t wear jewelry - stick Band-Aids on your wrists or make a necklace out of them. Wear Scotch tape on the side of your face like a bad face-lift attempt. Mismatch your shoes. Best yet, do as Mink Stole used to do: go to the thrift store the day after Halloween, when the children’s trick-or-treat costumes are on sale, buy one, and wear it as your uniform of defiance.

Bright Side wasn’t only my best friend; she was like my other half ... the other half of my brain, the other half of my conscience, the other half of my sense of humor, the other half of my creativity, the other half of my heart.

Let me list for you some of the many ways in which you might be afraid to live a more creative life: You’re afraid you have no talent. You’re afraid you’ll be rejected or criticized or ridiculed or misunderstood or—worst of all—ignored. You’re afraid there’s no market for your creativity, and therefore no point in pursuing it. You’re afraid somebody else already did it better. You’re afraid everybody else already did it better. You’re afraid somebody will steal your ideas, so it’s safer to keep them hidden forever in the dark. You’re afraid you won’t be taken seriously. You’re afraid your work isn’t politically, emotionally, or artistically important enough to change anyone’s life. You’re afraid your dreams are embarrassing. You’re afraid that someday you’ll look back on your creative endeavors as having been a giant waste of time, effort, and money. You’re afraid you don’t have the right kind of discipline. You’re afraid you don’t have the right kind of work space, or financial freedom, or empty hours in which to focus on invention or exploration. You’re afraid you don’t have the right kind of training or degree. You’re afraid you’re too fat. (I don’t know what this has to do with creativity, exactly, but experience has taught me that most of us are afraid we’re too fat, so let’s just put that on the anxiety list, for good measure.) You’re afraid of being exposed as a hack, or a fool, or a dilettante, or a narcissist. You’re afraid of upsetting your family with what you may reveal. You’re afraid of what your peers and coworkers will say if you express your personal truth aloud. You’re afraid of unleashing your innermost demons, and you really don’t want to encounter your innermost demons. You’re afraid your best work is behind you. You’re afraid you never had any best work to begin with. You’re afraid you neglected your creativity for so long that now you can never get it back. You’re afraid you’re too old to start. You’re afraid you’re too young to start. You’re afraid because something went well in your life once, so obviously nothing can ever go well again. You’re afraid because nothing has ever gone well in your life, so why bother trying? You’re afraid of being a one-hit wonder. You’re afraid of being a no-hit wonder

I believe the best managers acknowledge and make room for what they do not know—not just because humility is a virtue but because until one adopts that mindset, the most striking breakthroughs cannot occur. I believe that managers must loosen the controls, not tighten them. They must accept risk; they must trust the people they work with and strive to clear the path for them; and always, they must pay attention to and engage with anything that creates fear. Moreover, successful leaders embrace the reality that their models may be wrong or incomplete. Only when we admit what we don’t know can we ever hope to learn it.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

The best of humanity's recorded history is a creative balance between horrors endured and victories achieved, and so it was during the Harlem Renaissance.

When creative people do their best work, they're hardly ever in charge, they're just sort of rolling along with their eyes shut yelling wheee.

The best ideas rarely arise in one isolated mind, but rather develop in networks of curious and creative thinkers.

With six weeks' worth of recuperation time, you'll also be able to see any glaring holes in the plot or character development. And listen--if you spot a few of these big holes, you are forbidden to feel depressed about them or to beat up on yourself. Screw-ups happen to the best of us.

We won’t make ourselves more creative and productive by copying other people’s habits, even the habits of geniuses; we must know our own nature, and what habits serve us best.

In this moment Do not wait to be beautiful. Be your beautiful, authentic self right now. If the world offers up negativity and despair, surprise the world by giving back love and kindness. Send out the energy that you wish to experience, and you are certain to experience it. Happiness and fulfillment are alive in this moment. Allow them to flow freely and creatively through your life. Fall in love all over again with the miracle of being. Your imagination is great and magnificent, yet it cannot hold even a fraction of the possibilities. You'll do, say and act your best when you feel your best. Feel the limitless wonder of this very moment. Be beautiful, alive, aware and filled with the energy of the possible. In this moment, is every dream made and fulfilled

The best way to get a good idea is to have a lot of ideas.

The best way to be original is to not copy anyone.

Just as Amy took the credit for making me my best self, I had to take the blame for bringing the madness to bloom in Amy. There were a million men who would have loved, honored, and obeyed Amy and considered themselves lucky to do so. Confident, self-assured, real men who wouldn't have forced her to pretend to be anything but her own perfect, rigid, demanding, brilliant, creative, fascinating, rapacious, megalomaniac self.

It has been my personal experience that as I allow the painting to speak I become lost, it is delicious and at the same time frightening. The best ones, to me, have a life of their own.

Creative people need time to just sit around and do nothing. I get some of my best ideas when I'm bored, which is why I never take my shirts to the cleaners. I love ironing my shirts-it's so boring, I almost always get good ideas. If you're out of ideas, wash the dishes. Take really long walk. Stare at a spot on the wall for as long as you can. As the artist Maira Kalman says, "Avoiding work is the way to focus my mind.

If I want to be the best, I have to take risks others would avoid, always optimizing the learning potential of the moment and turning adversity to my advantage. That said, there are times when the body needs to heal, but those are ripe opportunities to deepen the mental, technical, internal side of my game. When aiming for the top, your path requires an engaged, searching mind. You have to make obstacles spur you to creative new angles in the learning process. Let setbacks deepen your resolve. You should always come off an injury or a loss better than when you went down.

When circumstances demand that we do something that is not natural to our temperament or talents, we must sometimes intentionally choose by discipline what we inherently lack by nature.

Your subconscious is a powerful and mysterious force which can either hold you back or help you move forward. Without its cooperation, your best goals will go unrealized; with its help, you are unbeatable.

The best thing to do is to loosen my grip on my pen and let it go wandering about until it finds an entrance. There must be one – everything depends on the circumstances, a rule applicable as much to literary style as to life. Each word tugs another one along, one idea another, and that is how books, governments and revolutions are made – some even say that is how Nature created her species.

Life is potentially meaningful under any conditions, even those which are most miserable. And this in turn presupposes the human capacity to creatively turn life’s negative aspects into something positive or constructive. In other words, what matters is to make the best of any given situation.

...Be careful not to mistake early incompetency as inherent weakness.

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

Being in a relationship will inevitably offer up uncertainty, risk, and challenges. Find someone who is willing and able to come up with creative solutions as issues arise and takes leaps for you when called for.

I have noticed that when all the lights are on, people tend to talk about what they are doing – their outer lives. Sitting round in candlelight or firelight, people start to talk about how they are feeling – their inner lives. They speak subjectively, they argue less, there are longer pauses. To sit alone without any electric light is curiously creative. I have my best ideas at dawn or at nightfall, but not if I switch on the lights – then I start thinking about projects, deadlines, demands, and the shadows and shapes of the house become objects, not suggestions, things that need to done, not a background to thought.

The healthy introvert understands that their personality is not a deterministic, fixed reality that they are powerless against. Being an introvert is never an excuse to shirk responsibility or to justify bad habits.

In my experience, the best creative work is never done when one is unhappy.

Philosophy, for Plato, is a kind of vision, the 'vision of truth' ... Everyone who has done any kind of creative work has experienced, in a greater or less degree, the state of mind in which, after long labour, truth or beauty appears, or seems to appear, in a sudden glory – it may only be about some small matter, or it may be about the universe ... I think most of the best creative work, in art, in science, in literature, and in philosophy, has been the result of such a moment.

Merely because you have got something to say that may be of interest to others does not free you from making all due effort to express that something in the best possible medium and form." [Letter to Max E. Feckler, Oct. 26, 1914]

Teaching kids how to nourish their creativity and curiosity, while still providing a sound foundation in critical thinking, literacy and math, is the best way to prepare them for a future of increasingly rapid technological change.

Don't assume you are more creative or better than anyone, because some people with better stuffs are just pretending to be dumb for a while.

It's a huge disservice to classify all minds as either closed or open. I find the best minds are closed by openable windows.

Your current situation = the life expectations you have accepted as completed, unless you change your comfort zone to create a better life.

The peculiar predicament of the present-day self surely came to pass as a consequence of the disappointment of the high expectations of the self as it entered the age of science and technology. Dazzled by the overwhelming credentials of science, the beauty and elegance of the scientific method, the triumph of modern medicine over physical ailments, and the technological transformation of the very world itself, the self finds itself in the end disappointed by the failure of science and technique in those very sectors of life which had been its main source of ordinary satisfaction in past ages. As John Cheever said, the main emotion of the adult Northeastern American who has had all the advantages of wealth, education, and culture is disappointment. Work is disappointing. In spite of all the talk about making work more creative and self-fulfilling, most people hate their jobs, and with good reason. Most work in modern technological societies is intolerably dull and repetitive. Marriage and family life are disappointing. Even among defenders of traditional family values, e.g., Christians and Jews, a certain dreariness must be inferred, if only from the average time of TV viewing. Dreary as TV is, it is evidently not as dreary as Mom talking to Dad or the kids talking to either. School is disappointing. If science is exciting and art is exhilarating, the schools and universities have achieved the not inconsiderable feat of rendering both dull. As every scientist and poet knows, one discovers both vocations in spite of, not because of, school. It takes years to recover from the stupor of being taught Shakespeare in English Lit and Wheatstone's bridge in Physics. Politics is disappointing. Most young people turn their backs on politics, not because of the lack of excitement of politics as it is practiced, but because of the shallowness, venality, and image-making as these are perceived through the media--one of the technology's greatest achievements. The churches are disappointing, even for most believers. If Christ brings us new life, it is all the more remarkable that the church, the bearer of this good news, should be among the most dispirited institutions of the age. The alternatives to the institutional churches are even more grossly disappointing, from TV evangelists with their blown-dry hairdos to California cults led by prosperous gurus ignored in India but embraced in La Jolla. Social life is disappointing. The very franticness of attempts to reestablish community and festival, by partying, by groups, by club, by touristy Mardi Gras, is the best evidence of the loss of true community and festival and of the loneliness of self, stranded as it is as an unspeakable consciousness in a world from which it perceives itself as somehow estranged, stranded even within its own body, with which it sees no clear connection. But there remains the one unquestioned benefit of science: the longer and healthier life made possible by modern medicine, the shorter work-hours made possible by technology, hence what is perceived as the one certain reward of dreary life of home and the marketplace: recreation. Recreation and good physical health appear to be the only ambivalent benefits of the technological revolution.

Destruction, best expressed in this age in which I write as terrorism, is truly there for its own sake, but the pretense of religion or secular patriotism converts the destructive into the speciously creative.

Sometimes life is hard. Things go wrong—in life and in love and in business and in friendship and in health and in all the other ways that life can go wrong. And when things get tough, this is what you should do: make good art. . . . Someone on the internet thinks what you’re doing is stupid or evil or it’s all been done before: make good art. Probably things will work out somehow, eventually time will take the sting away, and it doesn’t even matter. Do what only you can do best: make good art.

At its best, science fiction stimulates imagination and creativity. It gets reader and writer off the beaten track, off the narrow, narrow footpath of what "everyone" is saying, doing thinking - whoever "everyone" happens to be this year.

Perhaps the art of harvesting the secret riches of our lives is best achieved when we place profound trust in the act of beginning. Risk might be our greatest ally. To live a truly creative life, we always need to cast a critical look at where we presently are, attempting always to discern where we have become stagnant and where new beginning might be ripening. There can be no growth if we do not remain open and vulnerable to what is new and different. I have never seen anyone take a risk for growth that was not rewarded a thousand times over.

The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film. I don’t want to write anything but takes.

Things wabi-sabi have no need for the reassurance of status or the validation of market culture. They have no need for documentation of provenance. Wabi-sabi-ness in no way depends on knowledge of the creator's background or personality. In fact, it is best if the creator is no distinction, invisible, or anonymous.

The best defenses against the terrors of existence are the homely comforts of love, work, and family life, which connect us to a world that is independent of our wishes yet responsive to our needs. It is through love and work, as Freud noted in a characteristically pungent remark, that we exchange crippling emotional conflict for ordinary unhappiness. Love and work enable each of us to explore a small corner of the world and to come to accept it on its own terms. But our society tends either to devalue small comforts or else to expect too much of them. Our standards of "creative, meaningful work" are too exalted to survive disappointment. Our ideal of "true romance" puts an impossible burden on personal relationships. We demand too much of life, too little of ourselves.

When I realized that I was an introvert and what that meant, I actually became more outgoing, more confident in social situations, and began to enjoy scenarios I used to find unbearable. Why? Because, in understanding what I needed with respect to replenishing my energy, I was able to set limits and boundaries that freed me to be more engaged.

A mind that is racing over worries about the future or recycling resentments from the past is ill equipped to handle the challenges of the moment. By slowing down, we can train the mind to focus completely in the present. Then we will find that we can function well whatever the difficulties. That is what it means to be stress-proof: not avoiding stress but being at our best under pressure, calm, cool, and creative in the midst of the storm.

Genetic randomness had already determined how much talent I’d been allotted, and destiny’s randomness would account for my share of luck. The only piece I had any control over was my discipline. Recognizing that, it seemed like the best plan would be to work my ass off. That was the only card I had to play, so I played it hard.

It’s important to learn to quiet the mind since all the best ideas seem to come out of nowhere. All the great minds working on big problems have all spoken about how creative discoveries always come during breaks and rests from thinking and seemingly from someplace other than themselves, like a bolt of lightning or a seed being planted in their brain.

Good becomes better by playing against better, but better doesn't become the best by playing against good.

We create in people through our actions and example. In this way people around us become reflections of our own behavioral patterns and internal energies

Appreciate the daily miracles of life.

Miss Marva's driving technique was at best creative, and at worst she was an accident waiting to happen.

If you ask yourself 'What's the best thing that happened today?' It actually forces a certain kind of cheerful retrospection that pulls up from the recent past things to write about that you wouldn't otherwise think about.

That is the optimal creative vantage point: To stand on the brink of what is coming, feeling eager, optimistic anticipation—with no feeling of impatience, doubt, or unworthiness hindering the receiving of it—that is the Science of Deliberate Creation at its best.

Number 134 was one of the best. Livia had dropped her cell phone and cursed quietly, but creatively: “Hairy-ass bitch.” She’d felt Blake’s watchful eyes on her and given him an embarrassed smile. Number 134 made Blake realize she was a real, live girl. On that day he’d had hope. Maybe a girl flawed enough to curse would someday say hello out loud. To him.

You and I are stymied in our own creativity. We can only create as sub-creators, and even then our best work is only sub-creation.

As my friend Hugh MacLeod says, “The best way to get approval is to not need it.

To be acquainted with what is best and oldest in yourself, is to know yourself as you were, before the world was made, before you emerged into time.

The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good. Touched by a masterpiece, a person begins to hear in himself that same call of truth which prompted the artist to his creative act. When a link is established between the work and its beholder, the latter experiences a sublime, purging trauma. Within that aura which unites masterpieces and audience, the best sides of our souls are made known, and we long for them to be freed. In those moments we recognize and discover ourselves, the unfathomable depths of our own potential, and the furthest reaches of our emotions.

No one likes the feeling that other people are waiting— impatiently—for a response. At the beginning of the day, faced with an overflowing inbox, an array of voice mail messages, and the list of next steps from your last meeting, it’s tempting to “clear the decks” before starting your own work . When you’re up-to-date, you tell yourself, it will be easier to focus. The trouble with this approach is it means spending the best part of the day on other people’s priorities.

Are you Darah, Renee or Taylor? You look like a Taylor to me," he said, looking me up and down. I wasn't at my best, considering I was dressed for moving heavy objects in a blue UMaine t-shirt and black soccer shorts, and I had my light brown hair in a haphazard bun against the back of my neck. His eyes raked up and down twice, and for some reason the way he assessed me made me blush and want to kick him in the balls at the same time. "There must be a mistake," I said. He adjusted his bag on his shoulder. "That's a creative name. What do you shorten it to? Missy?

Think outside the box? Indeed. But to add balance to that, one should not in the process forget what the inside of the box looks like as well. Those who are best at thinking outside the box do it not to puff themselves up, but to see how small they really are. As a contented fish in its fish tank appears to have a small, boring existence to us, imagine a larger, more perceptive kingdom (even by scientific taxonomy) to whom our contented existences may appear to be small and boring. This is where true creativity and massive perceptive abilities spawn a sense of intellectual humility; the kind which God adores.

Lucie announced she planned to read to James from her work in progress, Secret Princess Lucie Is Rescued from Her Terrible Family. James listened with a carefully arranged look of interest, even though he was subjected to endless tales of Cruel Prince James and his many awful deeds. “I think that Cruel Prince James has been somewhat boxed in by his name,” James offered at one point. Lucie informed him that she wasn’t looking for critique at this stage in the creative process. “Secret Princess Lucie only wishes to be kind, but Cruel Prince James is driven to cruelty because he simply cannot stand to see Princess Lucie best him again and again, in every domain,” said Lucie. “I’m going to go now,” said James.

Steve Jobs thus became the greatest business executive of our era, the one most certain to be remembered a century from now. History will place him in the pantheon right next to Edison and Ford. More than anyone else of this time, he made products that were completely innovative, combining the power of poetry and processors. With a ferocity that could make working with him as unsettling as it was inspiring, he also built the world's most creative company. And he was able to infuse into its DNA the design sensibilities, perfectionism, and imagination that make it likely to be, even decades from now, the company that thrives best at the intersection of artistry and technology.

I wonder what we Christians are known for in the world outside our churches. Are we known as critics, consumers, copiers, condemners of culture? I’m afraid so. Why aren’t we known as cultivators—people who tend and nourish what is best in human culture, who do the hard and painstaking work to preserve the best of what people before us have done? Why aren’t we known as creators—people who dare to think and do something that has never been thought or done before, something that makes the world more welcoming and thrilling and beautiful?

The best jobs are neither decreed nor degreed. They are creative expressions of continuous learners in free markets.

Write to Say something, Say to Make something, Make to Be something.

Unapologetically expressing your creativity is the best aphrodisiac.

Rhett considered Link his best friend, despite Link’s claw hands.

Creativity is a habit and the best creativity is the result of good work habits

I've never believed that they're separate. Leonardo da Vinci was a great artist and a great scientist. Michelangelo knew a tremendous amount about how to cut stone at the quarry. The finest dozen computer scientists I know are all musicians. Some are better than others, but they all consider that an important part of their life. I don't believe that the best people in any of these fields see themselves as one branch of a forked tree. I just don't see that.People bring these things together a lot. Dr. Land at Polaroid said, "I want Polaroid to stand at the intersection of art and science," and I've never forgotten that. I think that that's possible, and I think a lot of people have tried.

When I walk into [the studio] I am alone, but I am alone with my body, ambition, ideas, passions, needs, memories, goals, prejudices, distractions, fears. These ten items are at the heart of who I am. Whatever I am going to create will be a reflection of how these have shaped my life, and how I've learned to channel my experiences into them. The last two -- distractions and fears -- are the dangerous ones. They're the habitual demons that invade the launch of any project. No one starts a creative endeavor without a certain amount of fear; the key is to learn how to keep free-floating fears from paralyzing you before you've begun. When I feel that sense of dread, I try to make it as specific as possible. Let me tell you my five big fears: 1. People will laugh at me. 2. Someone has done it before. 3. I have nothing to say. 4. I will upset someone I love. 5. Once executed, the idea will never be as good as it is in my mind. "There are mighty demons, but they're hardly unique to me. You probably share some. If I let them, they'll shut down my impulses ('No, you can't do that') and perhaps turn off the spigots of creativity altogether. So I combat my fears with a staring-down ritual, like a boxer looking his opponent right in the eye before a bout. 1. People will laugh at me? Not the people I respect; they haven't yet, and they're not going to start now.... 2. Someone has done it before? Honey, it's all been done before. Nothing's original. Not Homer or Shakespeare and certainly not you. Get over yourself. 3. I have nothing to say? An irrelevant fear. We all have something to say. 4. I will upset someone I love? A serious worry that is not easily exorcised or stared down because you never know how loved ones will respond to your creation. The best you can do is remind yourself that you're a good person with good intentions. You're trying to create unity, not discord. 5. Once executed, the idea will never be as good as it is in my mind? Toughen up. Leon Battista Alberti, the 15th century architectural theorist, said, 'Errors accumulate in the sketch and compound in the model.' But better an imperfect dome in Florence than cathedrals in the clouds.

It’s a short reminder that success can usually be measured by the number of uncomfortable conversations we are willing to have, and by the number of uncomfortable actions we are willing to take. The most fulfilled and effective people I know—world-famous creatives, billionaires, thought leaders, and more—look at their life’s journey as perhaps 25 percent finding themselves and 75 percent creating themselves.

Perhaps creativity’s greatest mercy is this: By completely absorbing our attention for a short and magical spell, it can relieve us temporarily from the dreadful burden of being who we are. Best of all, at the end of your creative adventure, you have a souvenir—something that you made, something to remind you forever of your brief but transformative encounter with inspiration

We must be willing to fall flat on our faces. Fearlessly putting ourselves out there is simply a required part of the process. At the very least, it results in the gift of humility and, at best, the triumph of our human spirit.

I think Dr. Willis McNelly at the California State University at Fullerton put it best when he said that the true protagonist of an sf story or novel is an idea and not a person. If it is *good* sf the idea is new, it is stimulating, and, probably most important of all, it sets off a chain-reaction of ramification-ideas in the mind of the reader; it so-to-speak unlocks the reader’s mind so that the mind, like the author’s, begins to create. Thus sf is creative and it inspires creativity, which mainstream fiction by-and-large does not do. We who read sf (I am speaking as a reader now, not a writer) read it because we love to experience this chain-reaction of ideas being set off in our minds by something we read, something with a new idea in it; hence the very best since fiction ultimately winds up being a collaboration between author and reader, in which both create and enjoy doing it: joy is the essential and final ingredient of science fiction, the joy of discovery of newness.

If you’ve truly created an innovative work, it’s likely to alienate as many people as it attracts. The best art divides the audience. If everyone likes it, you probably haven’t gone far enough.

The best advice is not to write what you know, it’s to write what you like. Write the kind of story you like best—write the story you want to read. The same principle applies to your life and your career: Whenever you’re at a loss for what move to make next, just ask yourself, “What would make a better story?

The best artists tend to be the ones with the most sensitive antennae to draw in the energy resonating at a particular moment. Many great artists first develop sensitive antennae not to create art but to protect themselves. They have to protect themselves because everything hurts more. They feel everything more deeply.

Hearing is passive. Listening is active. The best listeners focus their attention and recruit other senses to the effort. Their brains work hard to process all that incoming information and find meaning, which opens the door to creativity, empathy, insight, and knowledge. Understanding is the goal of listening, and it takes effort.

Ideas, of course, have a place in fiction, and any writer of fiction needs a mind. But ideas are not the best subject matter for fiction. They do not dramatize well. They are, rather, a by-product, something the reader himself is led to formulate after watching the story unfold. The ideas, the generalizations, ought to be implicit in the selection and arrangement of the people and places and actions. They ought to haunt a piece of fiction as a ghost flits past an attic window after dark.

When you are working on a problem, you sometimes get so close to it that you can’t see all the options. You miss elegant solutions because the creative part of your mind is suppressed by the intensity of your focus. Sometimes the best way to solve a problem is to go home, eat dinner, watch TV, go to bed, and then wake up the next morning and take a shower.

One mark of a great mind is the willingness to change it. We can see that in Leonardo. As he wrestled with his earth and water studies during the early 1500s, he ran into evidence that caused him to revise his belief in the microcosm-macrocosm analogy. It was Leonardo at his best, and we have the great fortune of being able to watch that evolution as he wrote the Codex Leicester. There he engaged in a dialogue between theories and experience, and when they conflicted he was receptive to trying a new theory. That willingness to surrender preconceptions was key to his creativity.

All I know for certain is that this is how I want to spend my life—collaborating to the best of my ability with forces of inspiration that I can neither see, nor prove, nor command, nor understand. It’s a strange line of work, admittedly. I cannot think of a better way to pass my days.

Since many of today’s best-known manufacturers no longer produce products and advertise them, but rather buy products and “brand” them, these companies are forever on the prowl for creative new ways to build and strengthen their brand images.

he best thing to do is to loosen my grip on my pen and let it go wandering about until it finds an entrance. There must be one – everything depends on the circumstances, a rule applicable as much to literary style as to life. Each word tugs another one along, one idea another, and that is how books, governments and revolutions are made – some even say that is how Nature created her species.

Every decision I have made - from changing jobs, to changing partners, to changing homes - has been taken with trepidation. I have not ceased being fearful, but I have ceased to let fear control me. I have accepted fear as a part of life, specifically the fear of change, the fear of the unknown, and I have gone ahead despite the pounding in the heart that says: turn back, turn back, you'll die if you venture too far... In the past several years I have learned, in short, to trust myself. Not to eradicate fear but to go on in spite of fear. Not to become insensitive to distinguished critics but to follow my own writer's instinct. My job is not to paralyze myself by anticipating judgment but to do the best that I can and let judgment fall where it may. The difference between the woman who is writing this essay and the college girl sitting in her creative writing class in 1961 is mostly a matter of nerve and daring - the nerve to trust my own instincts and the daring to be a fool. No one ever found wisdom without being a fool.

THE SEVEN HABITS OF HIGHLY EFFECTIVE ADD ADULTS 1. Do what you’re good at. Don’t spend too much time trying to get good at what you’re bad at. (You did enough of that in school.) 2. Delegate what you’re bad at to others, as often as possible. 3. Connect your energy to a creative outlet. 4. Get well enough organized to achieve your goals. The key here is “well enough.” That doesn’t mean you have to be very well organized at all—just well enough organized to achieve your goals. 5. Ask for and heed advice from people you trust—and ignore, as best you can, the dream-breakers and finger-waggers. 6. Make sure you keep up regular contact with a few close friends. 7. Go with your positive side. Even though you have a negative side, make decisions and run your life with your positive side.

She told us that social work was a young profession still finding itself. She called it a "creative science" and said that, in her opinion, the best social workers were intelligent and compassionate, and while she could give us ideas and tools to help our fellow man, she couldn't teach us how to put ourselves into another person's shoes. She said, "If you don't already know how to do that, you should drop this class and consider another line of work.

Q: Where and when do you do your writing? A: Any small room with no natural light will do. As for when, I have no particular schedules... afternoons are best, but I'm too lethargic for any real regime. When I'm in the flow of something I can do a regular 9 to 5; when I don't know where I'm going with an idea, I'm lucky if I do two hours of productive work. There is nothing more off-putting to a would-be novelist to hear about how so-and-so wakes up at four in the a.m, walks the dog, drinks three liters of black coffee and then writes 3,000 words a day, or that some other asshole only works half an hour every two weeks, does fifty press-ups and stands on his head before and after the "creative moment." I remember reading that kind of stuff in profiles like this and becoming convinced everything I was doing was wrong. What's the American phrase? If it ain't broke...

Remembering that I’ll be dead soon is the most important tool I’ve ever encountered to help me make the big choices in life. Because almost everything—all external expectations, all pride, all fear of embarrassment or failure—these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked.” —Steve Jobs

Let us imagine that life is a river. Most people are clinging to the bank, afraid to let go and risk being carried along by the current of the river. At a certain point, each of us must be willing to simply let go, and trust the river to carry us along safely. At this point, we learn to “go with the flow” — and it feels wonderful. Once we have become accustomed to being in the flow of the river, we can begin to look ahead and guide our course onward, deciding where the course looks best, steering the way around boulders and snags, and choosing which of the many channels and branches of the river we prefer to follow, all the while still “going with the flow.

‎Teachers matter. So instead of bashing them, or defending the status quo, let’s offer schools a deal. Give them the resources to keep good teachers on the job, and reward the best ones. In return, grant schools flexibility: To teach with creativity and passion; to stop teaching to the test; and to replace teachers who just aren’t helping kids learn.

That is what the highest criticism really is, the record of one's own soul. It is more fascinating than history, as it is concerned simply with oneself. It is more delightful than philosophy, as its subject is concrete and not abstract, real and not vague. It is the only civilized form of autobiography, as it deals not with events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind...The best that one can say of most modern creative art is that it is just a little less vulgar than reality, and so the critic, with his fine sense of distinction and sure instinct of delicate refinement, will prefer to look into the silver mirror or through the woven veil, and will turn his eyes away from the chaos and clamor of actual existence, though the mirror be tarnished and the veil be torn. His sole aim is to chronicle his own impressions. It is for him that pictures are painted, books written, and marble hewn into form.

'You... you're--' 'A virgin?' Jonah's voice cracked in the middle of that hated word. 'Holy fucking merciful Christ giving Peter a blow job.' 'Jesus,' Jonah breathed. 'Came first?' Amelia said, popping out of the ladies' room with impeccable timing. 'God, Ethan, that was the best blasphemy ever!'

Studies indicate that happy employees are more productive, more creative, and provide better client service. They’re less likely to quit or call in sick. What’s more, they act as brand ambassadors outside the office, spreading positive impressions of their company and attracting star performers to their team.

Here are some of the essential take-homes: we all need nearby nature: we benefit cognitively and psychologically from having trees, bodies of water, and green spaces just to look at; we should be smarter about landscaping our schools, hospitals, workplaces and neighborhoods so everyone gains. We need quick incursions to natural areas that engage our senses. Everyone needs access to clean, quiet and safe natural refuges in a city. Short exposures to nature can make us less aggressive, more creative, more civic minded and healthier overall. For warding off depression, lets go with the Finnish recommendation of five hours a month in nature, minimum. But as the poets, neuroscientists and river runners have shown us, we also at times need longer, deeper immersions into wild spaces to recover from severe distress, to imagine our futures and to be our best civilized selves.

…I’d let those entering (grad) students in on my secret—higher education is all about perseverance. It has nothing to do with smarts or creativity or anything else. It’s about cultivating the willingness and stamina for hoop jumping. Jump through the hoops, I’d say. Do it well. Do it relentlessly. And in a few years you can join the elite of the American education system secure in the knowledge that you too can endure with the best of them.

At this stage of the game, I don’t have the time for patience and tolerance. Ten years ago, even five years ago, I would have listened to people ask their questions, explained to them, mollified them. No more. That time is past. Now, as Norman Mailer said in Naked and the Dead, ‘I hate everything which is not in myself.’ If it doesn’t have a direct bearing on what I’m advocating, if it doesn’t augment or stimulate my life and thinking, I don’t want to hear it. It has to add something to my life. There’s no more time for explaining and being ecumenical anymore. No more time. That’s a characteristic I share with the new generation of Satanists, which might best be termed, and has labeled itself in many ways, an ‘Apocalypse culture.’ Not that they believe in the biblical Apocalypse—the ultimate war between good and evil. Quite the contrary. But that there is an urgency, a need to get on with things and stop wailing and if it ends tomorrow, at least we’ll know we’ve lived today. It’s a ‘fiddle while Rome burns’ philosophy. It’s the Satanic philosophy. If the generation born in the 50’s grew up in the shadow of The Bomb and had to assimilate the possibility of imminent self destruction of the entire planet at any time, those born in the 60’s have had to reconcile the inevitability of our own destruction, not through the bomb but through mindless, uncontrolled overpopulation. And somehow resolve in themselves, looking at what history has taught us, that no amount of yelling, protesting, placard waving, marching, wailing—or even more constructive avenues like running for government office or trying to write books to wake people up—is going to do a damn bit of good. The majority of humans have an inborn death wish—they want to destroy themselves and everything beautiful. To finally realize that we’re living in a world after the zenith of creativity, and that we can see so clearly the mechanics of our own destruction, is a terrible realization. Most people can’t face it. They’d rather retreat to the comfort of New Age mysticism. That’s all right. All we want, those few of us who have the strength to realize what’s going on, is the freedom to create and entertain and share with each other, to preserve and cherish what we can while we can, and to build our own little citadels away from the insensitivity of the rest of the world.

Life is an act of endless creativity. With all its simmering tragedy and occasional catastrophe, a human life is an amazing thing to contemplate and experience. None of us had any special plan laid out for us when we were born. By abandoning the idea that an intelligent designer created us, we can wake with each dawn and say, "What's done is done. Now how can I make the best of the here and now?

The idea of safety had shrunk into particles - one snug moment, then the next. Meanwhile, the brain piped fugues of worry and staged mind-theaters full of tragedies and triumphs, because unfortunately, the fear of death does wonders to focus the mind, inspire creativity, and heightens the senses. Trusting one's hunches only seems gamble if one has time for seem; otherwise the brain goes on autopilot and trades the elite craft of analysis for the best rapid insights that float up from its danger files and ancient bag of tricks.

What was remarkable was that associating with a computer and electronics company was the best way for a rock band to seem hip and appeal to young people. Bono later explained that not all corporate sponsorships were deals with the devil. “Let’s have a look,” he told Greg Kot, the Chicago Tribune music critic. “The ‘devil’ here is a bunch of creative minds, more creative than a lot of people in rock bands. The lead singer is Steve Jobs. These men have helped design the most beautiful art object in music culture since the electric guitar. That’s the iPod. The job of art is to chase ugliness away.

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

When I began to do a little public speaking, one of the questions I heard most often was, "What good is science fiction to Black people?" I was usually asked this by a Black person... What good is any form of literature to Black people? What good is science fiction's thinking about the present, the future, and the past? What good is its tendency to warn or to consider alternative ways of thinking and doing? What good is its examination of the possible effects of science and technology, or social organization and political direction? At its best, science fiction stimulates imagination and creativity. It gets reader and writer off the beaten track, off the narrow, narrow footpath of what "everyone" is saying, doing, thinking -- whoever "everyone" happens to be this year. And what good is all this to Black people?

How long has it been since you wrote a story where your real love or real hatred somehow got onto the paper? When was the last time you dared release a cherished prejudice so it slammed the page like a lightning bolt? What are the best things and the worst things in your life, and when are you going to get around to whispering or shouting them?

Decide what is sacred to you, and put your best life energies at its service. Make that the focus of your studies, your work, the test for your pleasures and your relationships. Don’t ever let fear or craving for security turn you aside.” When you serve your passion, when you are willing to risk yourself for something, your greatest creative energies are released. Hard work is required, but nothing is more joyful

The best lesson from the myths of Newton and Archimedes is to work passionately but to take breaks. Sitting under trees and relaxing in baths lets the mind wander and frees the subconscious to do work on our behalf. Freeman Dyson, a world-class physi- cist and author, agrees: “I think it’s very important to be idle...people who keep themselves busy all the time are generally not creative. So I am not ashamed of being idle.

The people you choose must (a) make you think smarter and (b) put lots of solutions on the table in a short amount of time. I don’t care who it is, the janitor or the intern or one of your most trusted lieutenants: If they can help you do that, they should be at the table.” Believe me, you don’t want to be at a company where there is more candor in the hallways than in the rooms where fundamental ideas or matters of policy are being hashed out. The best inoculation against this fate? Seek out people who are willing to level with you, and when you find them, hold them close.

Traditional scientific method has always been at the very best, 20–20 hindsight. It’s good for seeing where you’ve been. It’s good for testing the truth of what you think you know, but it can’t tell you where you ought to go, unless where you ought to go is a continuation of where you were going in the past. Creativity, originality, inventiveness, intuition, imagination—“unstuckness,” in other words—are completely outside its domain.

Why have so many schools reduced the time and emphasis they place on art, music, and physical education? The answer is beyond simple: those areas aren’t measured on the all-important tests. You know where those areas are measured… in life! Art, music, and a healthy lifestyle help us develop a richer, deeper, and more balanced perspective. Never before have we needed more of an emphasis on the development of creativity, but schools have gone the exact opposite direction in an effort to make the best test-taking automatons possible. Our economy no longer rewards people for blindly following rules and becoming a cog in the machine. We need risk-takers, outside-the-box thinkers, and entrepreneurs; our school systems do the next generation a great disservice by discouraging these very skills and attitudes. Instead of helping and encouraging them to find and develop their unique strengths, they're told to shut up, put the cell phones away, memorize these facts and fill in the bubbles.

You might not get the apology you deserve. You might not get answers to explain the actions of others. You might not get truth that makes sense to you. You might not get people to understand what you went through because of them. You might not get communication. You might not get maturity. You might not get mercy or even common decency. You might not get respect or the chance to explain your side of the story. However, you do get to choose how people treat you. God loves you enough to bring people into your life who won't hurt you, abuse you, betray you, lie and gossip about you, psycho analyse you, break your heart or make you an option or choice. He will bring people into your life that will love you, respect you, fight for you, show gratitude for your love and want to be a part of your life mission. The best part of this is you don't have to convince them of your worth. They want to be there. They know your value. They know your struggles. They are in touch with their own faults and understand you struggle just like everyone else. They won't hold you to a greater standard then they do themselves. They care about you and don't want to see you cry, feel discouraged or give up on this life. When you know the power of who you are and what you have to accomplish you will scratch your head in disbelief that you allowed other people to dictate who you are based on little knowledge of what God knows about you and your life purpose. Letting go isn't about accepting defeat or acknowledging you were wrong. Sometimes letting go is realizing that God has something better in store for you.

I have never created anything in my life that did not make me feel, at some point or another, like I was the guy who just walked into a fancy ball wearing a homemade lobster costume. But you must stubbornly walk into that room, regardless, and you must hold your head high. You made it; you get to put it out there. Never apologize for it, never explain it away, never be ashamed of it. You did your best with what you knew, and you worked with what you had, in the time that you were given. You were invited, and you showed up, and you simply cannot do more that that. They might throw you out - but then again, they might not. They probably won't throw you out, actually. The ballroom is often more welcoming and supportive than you could ever imagine. Somebody might even think you're brilliant and marvelous. You might end up dancing with royalty. Or you might just end up having to dance alone in the corner of the castle with your big, ungainly red foam claws waving in the empty air. that's fine, too. Sometimes it's like that. What you absolutely must not do is turn around and walk out. Otherwise, you will miss the party, and that would be a pity, because - please believe me - we did not come all this great distance, and make all this great effort, only to miss the party at the last moment.

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.

But what is [the] quality of originality? It is very hard to define or specify. Indeed, to define originality would in itself be a contradiction, since whatever action can be defined in this way must evidently henceforth be unoriginal. Perhaps, then, it will be best to hint at it obliquely and by indirection, rather than to try to assert positively what it is. One prerequisite for originality is clearly that a person shall not be inclined to impose his preconceptions on the fact as he sees it. Rather, he must be able to learn something new, even if this means that the ideas and notions that are comfortable or dear to him may be overturned. But the ability to learn in this way is a principle common to the whole of humanity. Thus it is well known that a child learns to walk, to talk, and to know his way around the world just by trying something out and seeing what happens, then modifying what he does (or thinks) in accordance with what has actually happened. In this way, he spends his first few years in a wonderfully creative way, discovering all sorts of things that are new to him, and this leads people to look back on childhood as a kind of lost paradise. As the child grows older, however, learning takes on a narrower meaning. In school, he learns by repetition to accumulate knowledge, so as to please the teacher and pass examinations. At work, he learns in a similar way, so as to make a living, or for some other utilitarian purpose, and not mainly for the love of the action of learning itself. So his ability to see something new and original gradually dies away. And without it there is evidently no ground from which anything can grow.

Edwin Land of Polaroid talked about the intersection of the humanities and science. I like that intersection. There's something magical about that place. There are a lot of people innovating, and that's not the main distinction of my career. The reason Apple resonates with people is that there's a deep current of humanity in our innovation. I think great artists and great engineers are similar in that they both have a desire to express themselves. In fact some of the best people working on the original Mac were poets and musicians on the side. In the seventies computers became a way for people to express their creativity. Great artists like Leonardo da Vinci and Michelangelo were also great art science. Michelangelo knew a lot about how to quarry stone, not just how to be a sculptor.

I'm convinced that the best solutions are often the ones that are counterintuitive - that challenge conventional thinking - and end in breakthroughs. It is always easier to do things the same old way...why change? To fight this, keep your dissatisfaction index high and break with tradition. Don't be too quick to accept the way things are being done. Question whether there's a better way. Very often you will find that once you make this break from the usual way - and incidentally, this is probably the hardest thing to do—and start on a new track your horizon of new thoughts immediately broadens. New ideas flow in like water. Always keep your interests broad - don't let your mind be stunted by a limited view.

Whenever life gets overwhelming, go back to chapter one of this book and think about your days. Try your best to fill them in ways that get you a little closer to where you want to be. Go easy on yourself and take your time. Worry less about getting things done. Worry more about things worth doing. Worry less about being a great artist. Worry more about being a good human being who makes art. Worry less about making a mark. Worry more about leaving things better than you found them.

Neither season after season of extreme weather events nor the risk of extinction for a million animal species around the world could push environmental destruction to the top of our country’s list of concerns. And how sad, he said, to see so many among the most creative and best-educated classes, those from whom we might have hoped for inventive solutions, instead embracing personal therapies and pseudo-religious practices that promoted detachment, a focus on the moment, acceptance of one’s surroundings as they were, equanimity in the face of worldly cares. (This world is but a shadow, it is a carcass, it is nothing, this world is not real, do not mistake this hallucination for the real world.) Self-care, relieving one’s own everyday anxieties, avoiding stress: these had become some of our society’s highest goals, he said—higher, apparently, than the salvation of society itself. The mindfulness rage was just another distraction, he said. Of course we should be stressed, he said. We should be utterly consumed with dread. Mindful meditation might help a person face drowning with equanimity, but it would do absolutely nothing to right the Titanic, he said. It wasn’t individual efforts to achieve inner peace, it wasn’t a compassionate attitude toward others that might have led to timely preventative action, but rather a collective, fanatical, over-the-top obsession with impending doom.

Most of today’s educational systems are built upon the same learning hierarchy: math and science at the top, humanities in the middle, art on the bottom. The reason for this is because these systems were developed in the nineteenth century, in the midst of the industrial revolution, when this hierarchy provided the best foundation for success. This is no longer the case. In a rapidly changing technological culture and an ever-growing information-based economy, creative ideas are the ultimate resource. Yet our current educational system does little to nourish this resource.

Thus, since time immemorial, it has been customary to accept the criticism of art from a man who may or may not have been artist himself. Some believe that artist should create its art and leave it for critic to pass judgement over it. Whereas dramatists like Ben Jonson is of the view that to ‘judge of poets is only the faculty of poets; and not of all poets, but the best’. Only the best of poets have the right to pass judgments on the merit or defects of poetry, for they alone have experienced the creative process form beginning to end, and they alone can rightly understand it.

You can Transform into a Super-Soul! If you align your physical and mental (logical/emotional) self with your core self (or soul being), then you will know your personal path, and find ways to follow it to fulfillment. You can learn how to best nurture your body, plus train your mind as an empowering tool to enhance your overall balance, strength, and unique skills, so that you achieve your goals, as well as optimise your well-being.

It’s not always easy to follow the subtle energetic information the universe broadcasts, especially when your friends, family, coworkers, or those with a business interest in your creativity are offering seemingly rational advice that challenges your intuitive knowing. To the best of my ability, I’ve followed my intuition to make career turns, and been recommended against doing so every time. It helps to realize that it’s better to follow the universe than those around you. Interference may also come from the voices within. The ones in your head that murmur you’re not talented enough, your idea isn’t good enough, art isn’t a worthwhile investment of your time, the result won’t be well-received, you’re a failure if the creation isn’t successful. It’s helpful to turn those voices down so you can hear the chimes of the cosmic clock ring, reminding you it’s time. Your time to participate.

There’s a big difference between merely carrying the world inside you and knowing that you do! A madman can produce ideas that resemble Plato’s, and a pious little schoolboy in a Herrnhut institute can creatively reconstruct profound mythological associations in his mind, ideas to be found in the Gnostics or Zoroaster. But he doesn’t know he’s doing it! He’s a tree or a stone, at best an animal, just as long as he doesn’t know that. But when the first spark of that knowledge glimmers, he becomes a human being. You certainly don’t consider all the bipeds running around the street to be human beings merely because they walk upright and carry their young for nine months? After all, you see how many of them are fish or sheep, worms or leeches, how many are ants, how many are bees! Now, each one of them has the potentiality of becoming a human being, but only when he senses that potential, when he even learns to be conscious of it to some degree, does that potential belong to him.

As a kid, I was taught that if you opened the Bible in the middle you'd probably land on the book of Psalms. And near the middle is everyone's favorite, the 23rd, there is this line: "You prepare a table before in the presence of my enemies." I don't know how many times I've read or recited this Psalm without pondering what that line actually means, but here is my take on it. When things are a bit tense, when life is not going at its best, when the potential for disaster is just around the corner, when your enemies are all around you - and even staring you down! - that's when God lays out the red-checkered picnic cloth and says, "Oooo, this is a nice place. Let's hang out here together for a while...just you and me.

I feel like a meme of a clueless white person. The wildest thing about all this is that even now I cannot stop composing. I'm trying to funnel this awfulness into something lovely. My salacious roman à clef will become a horror novel. My terror will become my readers' terror. I will take my fugue state of delirious panic and compost it into a fertile bed of creativity — for aren't all the best novels borne from some madness, which is borne from truth? Perhaps, if I can capture all my fears and constrain them safely on the page, this will rob them of their power. Don't all the ancient myths tell us that we gain control over a thing once we name it?

But first the student must learn to think creatively, to innovate, and to do the things that will most quickly seek out the enemy’s weak spots and undo him. Learning to think in that fashion is fundamental. That is what this course is about: the fundamentals. Once these fundamentals are learned, that is, once the student has begun to think clearly about how best to undo his adversary, once he has been rewarded in the classroom or the field for creative thought, the careful weighing of alternatives and risks followed by boldness in decision-making, he will then be ready to study definitions, control measures and formats. He will grasp their meaning more rapidly, for he will have a context in which to place them. They will be more than mere words and symbols.

We are all haunted by the lost perfection of the ego that contained everything, and we measure ourselves and our lovers against this standard. We search for a replica in external satisfactions, in food, comfort, sex, or success, but gradually learn, through the process of sublimation, that the best approximation of that lost feeling comes from creative acts that evoke states of being in which self-consciousness is temporarily relinquished. These are the states in which the artist, writer, scientist, or musician, like Freud’s da Vinci, dissolves into the act of creation.

The best art is not always the most popular art, and the most popular art is never truly the best art. The best art is that which is streamed through God. And the worst art is that which is void of God. The master artist of the universe is the Creator of All Things, and his reflection is in all of us. Only the artist who is aware that he is a reflection of that greatness, and that creativity is supreme love, is a true divine artist. Even if he is not the most popular artist, he will be very popular among the stars of His universe. That is the master artist, one who uses his talents to serve as a vehicle of God. In his work, you hear God's voice and see with His eyes.

10 ways to raise a wild child. Not everyone wants to raise wild, free thinking children. But for those of you who do, here's my tips: 1. Create safe space for them to be outside for a least an hour a day. Preferable barefoot & muddy. 2. Provide them with toys made of natural materials. Silks, wood, wool, etc...Toys that encourage them to use their imagination. If you're looking for ideas, Google: 'Waldorf Toys'. Avoid noisy plastic toys. Yea, maybe they'll learn their alphabet from the talking toys, but at the expense of their own unique thoughts. Plastic toys that talk and iPads in cribs should be illegal. Seriously! 3. Limit screen time. If you think you can manage video game time and your kids will be the rare ones that don't get addicted, then go for it. I'm not that good so we just avoid them completely. There's no cable in our house and no video games. The result is that my kids like being outside cause it's boring inside...hah! Best plan ever! No kid is going to remember that great day of video games or TV. Send them outside! 4. Feed them foods that support life. Fluoride free water, GMO free organic foods, snacks free of harsh preservatives and refined sugars. Good oils that support healthy brain development. Eat to live! 5. Don't helicopter parent. Stay connected and tuned into their needs and safety, but don't hover. Kids like adults need space to roam and explore without the constant voice of an adult telling them what to do. Give them freedom! 6. Read to them. Kids don't do what they are told, they do what they see. If you're on your phone all the time, they will likely be doing the same thing some day. If you're reading, writing and creating your art (painting, cooking...whatever your art is) they will likely want to join you. It's like Emilie Buchwald said, "Children become readers in the laps of their parents (or guardians)." - it's so true! 7. Let them speak their truth. Don't assume that because they are young that you know more than them. They were born into a different time than you. Give them room to respectfully speak their mind and not feel like you're going to attack them. You'll be surprised what you might learn. 8. Freedom to learn. I realize that not everyone can homeschool, but damn, if you can, do it! Our current schools system is far from the best ever. Our kids deserve better. We simply can't expect our children to all learn the same things in the same way. Not every kid is the same. The current system does not support the unique gifts of our children. How can they with so many kids in one classroom. It's no fault of the teachers, they are doing the best they can. Too many kids and not enough parent involvement. If you send your kids to school and expect they are getting all they need, you are sadly mistaken. Don't let the public school system raise your kids, it's not their job, it's yours! 9. Skip the fear based parenting tactics. It may work short term. But the long term results will be devastating to the child's ability to be open and truthful with you. Children need guidance, but scaring them into listening is just lazy. Find new ways to get through to your kids. Be creative! 10. There's no perfect way to be a parent, but there's a million ways to be a good one. Just because every other parent is doing it, doesn't mean it's right for you and your child. Don't let other people's opinions and judgments influence how you're going to treat your kid. Be brave enough to question everything until you find what works for you. Don't be lazy! Fight your urge to be passive about the things that matter. Don't give up on your kid. This is the most important work you'll ever do. Give it everything you have.

Action is commonplace, right action is not. As a discipline, it’s not any kind of action that will do, but directed action. Everything must be done in the service of the whole. Step by step, action by action, we’ll dismantle the obstacles in front of us. With persistence and flexibility, we’ll act in the best interest of our goals. Action requires courage, not brashness—creative application and not brute force. Our movements and decisions define us: We must be sure to act with deliberation, boldness, and persistence. Those are the attributes of right and effective action. Nothing else—not thinking or evasion or aid from others. Action is the solution and the cure to our predicaments.

The world upsets, disappoints, frustrates and hurts us in countless ways at every turn. It delays us, rejects our creative endeavours, overlooks us for promotions, rewards idiots and smashes our ambitions on its bleak, relentless shores. And almost invariably, we can’t complain about any of it. It’s too difficult to tease out who may really be to blame; and too dangerous to complain even when we know for certain (lest we be fired or laughed at). There is only one person to whom we can expose our catalogue of grievances, one person who can be the recipient of all our accumulated rage at the injustices and imperfections of our lives. It is of course the height of absurdity to blame them. But this is to misunderstand the rules under which love operates. It is because we cannot scream at the forces who are really responsible that we get angry with those we are sure will best tolerate us for blaming them. We take it out on the very nicest, most sympathetic, most loyal people in the vicinity, the ones least likely to have harmed us, but the ones most likely to stick around while we pitilessly rant at them. The accusations we direct at our lovers make no particular sense. We would utter such unfair things to no one else on earth. But our wild charges are a peculiar proof of intimacy and trust, a symptom of love itself – and, in their own way, a perverted manifestation of commitment. Whereas we can say something sensible and polite to any stranger, it is only in the presence of the lover we wholeheartedly believe in that we can dare to be extravagantly and boundlessly unreasonable. A

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.

Years and years ago, I read a great interview with Jam and Lewis, the R&B producers, in which they described what it was like to be members of Prince's band. They'd sit down, and Prince would tell them what he wanted them to play, and they'd explain that they couldn't--they weren't quick enough, or good enough. And Prince would push them and push them until they mastered it, and then just when they were feeling pleased with themselves for accomplishing something they didn't know they had the capacity for, he'd tell them the dance steps he needed to accompany the music. This story has stuck with me, I think, because it seems like an encapsulation of the very best and most exciting kind of creative process.

It has been said that all the stories have already been told, that there is nothing left to say. At best, a writer’s job is to pour new wine in old bottles, to retell in a new way the same emotional predicaments that humans have felt since the beginnings of time. Yet many authors find this a worthwhile challenge; they think of themselves as gardeners whose task is to cultivate perennial ideas generation after generation. The same flowers will bloom each spring, but if the gardener slacks off, weeds will take over.

When we encounter a friend who's depressed or afraid, we automatically try to take that distress away and to cheer the person up. While we may be operating with the best of intentions, this Band-Aid approach only reinforces the condition. Unless people experience their pain completely and begin to undrstand it, they will not only fail to overcome it, they'll also lose the opportunity of using it to advance their own growth. Pain can get you somewhere, and that somewhere can be a life-enhancing experience. We all tend to forget that pain can signal change. Alleviating the symptoms of pain in someone, without helping them to get at its underlying source, robs them of an important to for self-exploration. It's also a way of placating that reinforces the person'S need to cave in and succumb to another. This attitude undermines healthy character development and contributes to psychospiritual, moral, and ultimately social decay.

Many a person over the years has tried- both successfully and unsuccessfully, to get rid of their inner demons. Those who are successful are deemed artists, those who are not are call dreamers at best and lunatics at worse. But where exactly resides that line on which two worlds collide? Does somebody know? Is somebody fit to tell? Who's to say that those deemed lunatics are not just successes on the making? Who says that those who claim to be just a tad bit crazy are not just as crazy as those that had completely lost it? Maybe, and bear with me here…everyone is as crazy as the one before them and the next one could ever possibly be. Maybe at the end- it's just that some have mastered creating a façade of calmness and collection while others don't bother going through all that trouble anymore, if they ever did. Perhaps we all have demons…it's just that some people have demons far more toxic and difficult to ignore than others.

My biggest anxiety about becoming a therapist is feeling that I am inadequate. My instructors reassure me that this is a normal feeling, that many therapists experience this in their first year or two of training, and that we’re not expected to be perfect. But it doesn’t make any difference—it remains my biggest anxiety. I believe it’s because I was always second best in my family of origin. No matter what I did, my sister was always smarter...more creative. I learned to feel really uncomfortable whenever I wasn’t in complete command and didn’t know just exactly what I was supposed to do. So, even though some part of me knows that I’m really not inadequate, it still churns my stomach when I am not good at something right away.

It may be different for you. Your happy place. Your joy. The place where life feels more good than not good. It doesn’t have to be kids. My producing partner Betsy Beers would tell me that for her that place is her dog. My friend Scott would probably tell me that for him it is spending time being creative. You might say it’s being with your best friend. Your boyfriend, your girlfriend. A parent. A sibling. It’s different for everyone. For some of you, it might even be work. And that, too, is valid. This Yes is about giving yourself the permission to shift the focus of what is a priority from what’s good for you over to what makes you feel good.

One of his motivating passions was to build a lasting company. At age twelve, when he got a summer job at Hewlett-Packard, he learned that a properly run company could spawn innovation far more than any single creative individual. " I discovered that the best innovation is sometimes the company, the way you organize a company," he recalled." The whole notion of how you build a company is fascinating. When i got the chance to come back to Apple, I realized that I would be useless without the company, and that's why I decided to stay and rebuild it.

The Apple Marketing Philosophy” that stressed three points. The first was empathy, an intimate connection with the feelings of the customer: “We will truly understand their needs better than any other company.” The second was focus: “In order to do a good job of those things that we decide to do, we must eliminate all of the unimportant opportunities.” The third and equally important principle, awkwardly named, was impute. It emphasized that people form an opinion about a company or product based on the signals that it conveys. “People DO judge a book by its cover,” he wrote. “We may have the best product, the highest quality, the most useful software etc.; if we present them in a slipshod manner, they will be perceived as slipshod; if we present them in a creative, professional manner, we will impute the desired qualities.

EXTREME DESIGN Theologically, the space energy density demonstrates that for physical life to be possible at any time or place in the history of the universe the value of the mass density of the universe must be fine-tuned to within one part in 1060, and the value of the cosmological constant must be fine-tuned to within one part in 10120.{74} To put this in perspective, the best example of human engineering design that I am aware of is a gravity wave telescope capable of making measurements to within one part in 1023. This implies that the Creator at a minimum is ten trillion trillion trillion trillion trillion trillion trillion trillion times more intelligent, knowledgeable, creative, and powerful than we humans. To word it another way, before this discovery the most profound design evidence scientists had uncovered in the cosmos was a characteristic that had to be fine-tuned to within one part in 1040. Thanks to this twenty-first century discovery, the evidence that God created and designed the universe for the benefit of life and human beings in particular has become 1080 times stronger (a hundred million trillion trillion trillion trillion trillion trillion times stronger).

Thoughts and habits not conducive to the work: Believing you’re not good enough. Feeling you don’t have the energy it takes. Mistaking adopted rules for absolute truths. Not wanting to do the work (laziness). Not taking the work to its highest expression (settling). Having goals so ambitious that you can’t begin. Thinking you can only do your best work in certain conditions. Requiring specific tools or equipment to do the work. Abandoning a project as soon as it gets difficult. Feeling like you need permission to start or move forward. Letting a perceived need for funding, equipment, or support get in the way. Having too many ideas and not knowing where to start. Never finishing projects. Blaming circumstances or other people for interfering with your process. Romanticizing negative behaviors or addictions. Believing a certain mood or state is necessary to do your best work. Prioritizing other activities and responsibilities over your commitment to making art. Distractibility and procrastination. Impatience. Thinking anything that’s out of your control is in your way.

As I learned about the consequences of my food choices and as I recognized that I didn't have to eat animals, and that eating animals caused the animals to suffer, it caused an enormous footprint on our planet, and it wasn't healthy, it made since to go vegan. And, it's one of the best decisions I've ever made, and I think most people who've decided to go vegan share a similar experience. It's very empowering. And, when I went vegan I actually started eating a wide variety of foods I had never tried before. Different ethnic foods. You also start combining things in different ways, you start becoming more creative in the kitchen. But I went vegan just because it seemed to make sense, and it was aligned with my own values, because I didn't want to support this system that was so abusive to animals, and wasting and squandering so many scarce resources on our planet. And it was also healthier, so it was in my interest to eat food that was plant-based instead of animal-based. Living a vegan lifestyle makes a lot of sense.

1. Write. 2. Put one word after another. Find the right word, put it down. 3. Finish what you're writing. Whatever you have to do to finish it, finish it. 4. Put it aside. Read it pretending you've never read it before. Show it to friends whose opinion you respect and who like the kind of thing that this is. 5. Remember: when people tell you something's wrong or doesn't work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong. 6. Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving. 7. Laugh at your own jokes. 8. The main rule of writing is that if you do it with enough assurance and confidence, you're allowed to do whatever you like. (That may be a rule for life as well as for writing. But it's definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I'm not sure that there are any other rules. Not ones that matter." [Ten rules for writing fiction (The Guardian, 20 February 2010)]

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.

The objective of learning is not necessarily to remember. It may even be salutary to forget. It is only when we forget the early pains and struggles of forming letters that we acquire the capacity for writing. The adult does not remember all the history s/he learned but s/he may hope to have acquired a standard of character and conduct, a sense of affairs and a feeling of change and development in culture. Naturally there is nothing against having a well-stocked mind provided it does not prevent the development of other capacities. But it is still more important to allow knowledge to sink into one in such a way that it becomes fruitful for life; this best done when we feel deeply all we learn. For the life of feeling is less conscious, more dream-like, than intellectual activity and leads to the subconscious life of will where the deep creative capacities of humanity have their being. It is from this sphere that knowledge can emerge again as something deeply significant for life. It is not what we remember exactly, but what we transform which is of real value to our lives. In this transformation the process of forgetting, of allowing subjects to sink into the unconscious before "re-membering" them is an important element.

Every little thing now has to be about maximising your potential, and perfecting yourself, and honing yourself, and getting the best deal out of your life, and out of your body, and out of your precious fucking time. Everything’s a corporate retreat now. Everything has utility. You want to get fucked up and just escape your own existence for once, just check out of your life for a while, like every other human being who has ever lived? No. Even a fucking acid trip has to be a means to an end. It has to be about team-building. It has to be about trust and wellness and creativity. It has to be about your authentic journey towards physical and psychological perfection. It has to be about you asserting the integrity of your choice to do it in the first place. It can’t be a lapse of judgment. There are no lapses of judgment. It can’t be wrong. There are no wrongs. There’s just choice, and choice is neutral, and we’re neutral, and everything is neutral, and everything’s a game, and if you want to win the game then you’re going to have to optimise yourself, and actualise yourself, and utilise yourself, and get the edge, and God forbid that you should have an actual human experience of frailty, or mortality, or limitation, or humanity, or of the fucking onward march of time--those are just distractions, those are obstacles, they’re defects, they’re inconveniences in the face of our curated, bespoke, freely fucking chosen authentic existence, and sure, we can never quite decide if we’re the consumers of our lives or the products of them, but there’s one thing we are damn sure of, which is that nobody on earth has any right to pass any judgment on us, either way. Freedom in the marketplace! It’s the only thing that matters! It’s the only thing that exists!

Ten Principles for Success Strive to be a leader of character, competence, and courage. Lead from the front. Say, “Follow me!” and then lead the way. Stay in top physical shape—physical stamina is the root of mental toughness. Develop your team. If you know your people, are fair in setting realistic goals and expectations, and lead by example, you will develop teamwork. Delegate responsibility to your subordinates and let them do their jobs. You can’t do a good job if you don’t have a chance to use your imagination or your creativity. Anticipate problems and prepare to overcome obstacles. Don’t wait until you get to the top of the ridge and then make up your mind. Remain humble. Don’t worry about who receives the credit. Never let power or authority go to your head. Take a moment of self-reflection. Look at yourself in the mirror every night and ask yourself if you did your best. True satisfaction comes from getting the job done. The key to a successful leader is to earn respect—not because of rank or position, but because you are a leader of character. Hang Tough!—Never, ever, give up.

I began looking for these four: Smart. It doesn’t mean high IQ (although that’s great), it means disposed toward learning. If there’s a best practice anywhere, adopt it. We want to turn as much as possible into a routine so we can focus on the few things that require human intelligence and creativity. A good interview question for this is: “Tell me about the last significant thing you learned about how to do your job better.” Or you might ask a candidate: “What’s something that you’ve automated? What’s a process you’ve had to tear down at a company?” Humble. I don’t mean meek or unambitious, I mean being humble in the way that Steph Curry is humble. If you’re humble, people want you to succeed. If you’re selfish, they want you to fail. It also gives you the capacity for self-awareness, so you can actually learn and be smart. Humility is foundational like that. It is also essential for the kind of collaboration we want at Slack. Hardworking. It does not mean long hours. You can go home and take care of your family, but when you’re here, you’re disciplined, professional, and focused. You should also be competitive, determined, resourceful, resilient, and gritty. Take this job as an opportunity to do the best work of your life. Collaborative. It’s not submissive, not deferential—in fact it’s kind of the opposite. In our culture, being collaborative means providing leadership from everywhere. I’m taking responsibility for the health of this meeting. If there’s a lack of trust, I’m going to address that. If the goals are unclear, I’m going to deal with that. We’re all interested in getting better and everyone should take responsibility for that. If everyone’s collaborative in that sense, the responsibility for team performance is shared. Collaborative people know that success is limited by the worst performers, so they are either going to elevate them or have a serious conversation. This one is easy to corroborate with references, and in an interview you can ask, “Tell me about a situation in your last company where something was substandard and you helped to fix it.

Your Creative Autobiography 1. What is the first creative moment you remember? 2. Was anyone there to witness or appreciate it? 3. What is the best idea you’ve ever had? 4. What made it great in your mind? 5. What is the dumbest idea? 6. What made it stupid? 7. Can you connect the dots that led you to this idea? 8. What is your creative ambition? 9. What are the obstacles to this ambition? 10. What are the vital steps to achieving this ambition? 11. How do you begin your day? 12. What are your habits? What patterns do you repeat? 13. Describe your first successful creative act. 14. Describe your second successful creative act. 15. Compare them. 16. What are your attitudes toward: money, power, praise, rivals, work, play? 17. Which artists do you admire most? 18. Why are they your role models? 19. What do you and your role models have in common? 20. Does anyone in your life regularly inspire you? 21. Who is your muse? 22. Define muse. 23. When confronted with superior intelligence or talent, how do you respond? 24. When faced with stupidity, hostility, intransigence, laziness, or indifference in others, how do you respond? 25. When faced with impending success or the threat of failure, how do you respond? 26. When you work, do you love the process or the result? 27. At what moments do you feel your reach exceeds your grasp? 28. What is your ideal creative activity? 29. What is your greatest fear? 30. What is the likelihood of either of the answers to the previous two questions happening? 31. Which of your answers would you most like to change? 32. What is your idea of mastery? 33. What is your greatest dream?

things were created by God and for God, no exceptions. Every note of music. Every color on the palette. Every flavor that tingles the taste buds. Arnold Summerfield, the German physicist and pianist, observed that a single hydrogen atom, which emits one hundred frequencies, is more musical than a grand piano, which only emits eighty-eight frequencies. Every single atom is a unique expression of God’s creative genius. And that means every atom is a unique expression of worship. According to composer Leonard Bernstein, the best translation of Genesis 1:3 and several other verses in Genesis 1 is not “and God said.” He believed a better translation is “and God sang.” The Almighty sang every atom into existence, and every atom echoes that original melody sung in three-part harmony by the Father, Son, and Holy Spirit. Did you know that the electron shell of the carbon atom produces the same harmonic scale as the Gregorian chant? Or that whale songs can travel thousands of miles underwater? Or that meadowlarks have a range of three hundred notes? But the songs we can hear audibly are only one instrument in the symphony orchestra called creation. Research in the field of bioacoustics has revealed that we are surrounded by millions of ultrasonic songs. Supersensitive sound instruments have discovered that even earthworms make faint staccato sounds! Lewis Thomas put it this way: “If we had better hearing, and could discern the descants [singing] of sea birds, the rhythmic tympani [drumming] of schools of mollusks, or even the distant harmonics of midges [flies] hanging over meadows in the sun, the combined sound might lift us off our feet.” Someday the sound will lift us off our feet. Glorified eardrums will reveal millions of songs previously inaudible to the human ear.

Most of the successful innovators and entrepreneurs in this book had one thing in common: they were product people. They cared about, and deeply understood, the engineering and design. They were not primarily marketers or salesmen or financial types; when such folks took over companies, it was often to the detriment of sustained innovation. “When the sales guys run the company, the product guys don’t matter so much, and a lot of them just turn off,” Jobs said. Larry Page felt the same: “The best leaders are those with the deepest understanding of the engineering and product design.”34 Another lesson of the digital age is as old as Aristotle: “Man is a social animal.” What else could explain CB and ham radios or their successors, such as WhatsApp and Twitter? Almost every digital tool, whether designed for it or not, was commandeered by humans for a social purpose: to create communities, facilitate communication, collaborate on projects, and enable social networking. Even the personal computer, which was originally embraced as a tool for individual creativity, inevitably led to the rise of modems, online services, and eventually Facebook, Flickr, and Foursquare. Machines, by contrast, are not social animals. They don’t join Facebook of their own volition nor seek companionship for its own sake. When Alan Turing asserted that machines would someday behave like humans, his critics countered that they would never be able to show affection or crave intimacy. To indulge Turing, perhaps we could program a machine to feign affection and pretend to seek intimacy, just as humans sometimes do. But Turing, more than almost anyone, would probably know the difference. According to the second part of Aristotle’s quote, the nonsocial nature of computers suggests that they are “either a beast or a god.” Actually, they are neither. Despite all of the proclamations of artificial intelligence engineers and Internet sociologists, digital tools have no personalities, intentions, or desires. They are what we make of them.

But why bother? Why exert all this effort to focus totally on the boring prattlings of a six-year-old? First, your willingness to do so is the best possible concrete evidence of your esteem you can give your child. If you give your child the same esteem you would give a great lecturer, then the child will know him- or herself to be valued and therefore will feel valuable. There is no better and ultimately no other way to teach your children that they are valuable people than by valuing them. Second, the more children feel valuable, the more they will begin to say things of value. They will rise to your expectation of them. Third, the more you listen to your child, the more you will realize that in amongst the pauses, the stutterings, the seemingly innocent chatter, your child does indeed have valuable things to say. The dictum that great wisdom comes from "the mouths of babes" is recognized as an absolute fact by anyone who truly listens to children. Listen to your child enough and you will come to realize that he or she is quite an extraordinary individual. And the more extraordinary you realize your child to be, the more you will be willing to listen. And the more you will learn. Fourth, the more you know about your child, the more you will be able to teach. Know little about your children, and usually you will be teaching things that either they are not ready to learn or they already know and perhaps understand better than you. Finally, the more children know that you value them, that you consider them extraordinary people, the more willing they will be to listen to you and afford you the same esteem. And the more appropriate your teaching, based on your knowledge of them, the more eager your children will be to learn from you. And the more they learn, the more extraordinary they will become. If the reader senses the cyclical character of this process, he or she is quite correct and is appreciating the truth of the reciprocity of love. Instead of a vicious downward cycle, it is a creative upward cycle of evolution and growth. Value creates value. Love begets love. Parents and child together spin forward faster and faster in the pas de deux of love.

Higher purpose: I am here to serve. I am here to inspire. I am here to love. I am here to live my truth. Communion: I will appreciate someone who doesn’t know that I feel that way. I will overlook the tension and be friendly to someone who has ignored me. I will express at least one feeling that has made me feel guilty or embarrassed. Awareness: I will spend ten minutes observing instead of speaking. I will sit quietly by myself just to sense how my body feels. If someone irritates me, I will ask myself what I really feel beneath the anger—and I won’t stop paying attention until the anger is gone. Acceptance: I will spend five minutes thinking about the best qualities of someone I really dislike. I will read about a group that I consider totally intolerant and try to see the world as they do. I will look in the mirror and describe myself exactly as if I were the perfect mother or father I wish I had had (beginning with the sentence “How beautiful you are in my eyes”). Creativity: I will imagine five things I could do that my family would never expect—and then I will do at least one of them. I will outline a novel based on my life (every incident will be true, but no one would ever guess that I am the hero). I will invent something in my mind that the world desperately needs. Being: I will spend half an hour in a peaceful place doing nothing except feeling what it is like to exist. I will lie outstretched on the grass and feel the earth languidly revolving under me. I will take in three breaths and let them out as gently as possible. Efficiency: I will let at least two things out of my control and see what happens. I will gaze at a rose and reflect on whether I could make it open faster or more beautifully than it already does—then I will ask if my life has blossomed this efficiently. I will lie in a quiet place by the ocean, or with a tape of the sea, and breathe in its rhythms. Bonding: When I catch myself looking away from someone, I will remember to look into the person’s eyes. I will bestow a loving gaze on someone I have taken for granted. I will express sympathy to someone who needs it, preferably a stranger. Giving: I will buy lunch and give it to someone in need on the street (or I will go to a café and eat lunch with the person). I will compliment someone for a quality that I know the individual values in him- or herself. I will give my children as much of my undivided time today as they want. Immortality: I will read a scripture about the soul and the promise of life after death. I will write down five things I want my life to be remembered for. I will sit and silently experience the gap between breathing in and breathing out, feeling the eternal in the present moment.

. . . I bet I'm beginning to make some parents nervous - here I am, bragging of being a dropout, and unemployable, and about to make a pitch for you to follow your creative dreams, when what parents want is for their children to do well in their field, to make them look good, and maybe also to assemble a tasteful fortune . . . But that is not your problem. Your problem is how you are going to spend this one odd and precious life you have been issued. Whether you're going to live it trying to look good and creating the illusion that you have power over people and circumstances, or whether you are going to taste it, enjoy it, and find out the truth about who you are . . . I do know you are not what you look like, or how much you weigh, or how you did in school, or whether you start a job next Monday or not. Spirit isn't what you do, it's . . . well, again, I don't actually know. They probably taught this junior year at Goucher; I should've stuck around. But I know that you feel best when you're not doing much - when you're in nature, when you're very quiet or, paradoxically, listening to music . . . We can see Spirit made visible when people are kind to one another, especially when it's a really busy person, like you, taking care of the needy, annoying, neurotic person, like you. In fact, that's often when we see Spirit most brightly . . . In my twenties I devised a school of relaxation that has unfortunately fallen out of favor in the ensuing years - it was called Prone Yoga. You just lay around as much as possible. You could read, listen to music, you could space out or sleep. But you had to be lying down. Maintaining the prone. You've graduated. You have nothing left to prove, and besides, it's a fool's game. If you agree to play, you've already lost. It's Charlie Brown and Lucy, with the football. If you keep getting back on the field, they win. There are so many great things to do right now. Write. Sing. Rest. Eat cherries. Register voters. And - oh my God - I nearly forgot the most important thing: refuse to wear uncomfortable pants, even if they make you look really thin. Promise me you'll never wear pants that bind or tug or hurt, pants that have an opinion about how much you've just eaten. The pants may be lying! There is way too much lying and scolding going on politically right now without having your pants get in on the act, too. So bless you. You've done an amazing thing. And you are loved; you're capable of lives of great joy and meaning. It's what you are made of. And it's what you're here for. Take care of yourselves; take care of one another. And give thanks, like this: Thank you.

Nobody tells people who are beginners. I really wish someone had told this to me. Is that [if you are watching this video, you are somebody who wants o make videos right?] all of us who do creative work, we get into it. we get into it because we have good taste. you know what I mean? like you want to make TV, because you love TV. there is stuff you just like, love. ok so you got really good taste. you get into this thing … that i don’t even know how to describe it, but there is a gap. for the first couple of years you are making stuff, what you are making isn’t so good... ok, its not that great. it's really not that great. its trying to be good, it has ambition to be good, but not quite that good. but your taste, the thing get you into the game, your taste is still killer. your taste is good enough that you can tell what you are making is a kind of disappointment to you, you know what i mean? you can tell it is still sort of crappy. a lot of people never get past that phase. a lot of people at that point, they quit. the thing i would just like say to you with all my heart is that most everybody I know, who does interesting creative work, they went through a phase of years where they had really good taste, they could tell what they were making wasn’t as good as they wanted it to be. they knew it felt short. [some of us can admit that to ourselves, some of us less able to admit that to ourselves] we knew like, it didn’t have that special thing that we wanted it to have. [...] everybody goes through that. for you to go through it, if you are going through right now, just getting out of that phase, if you are just starting out and entering into that phase, you gotta know it is totally normal and the most important possible thing you can do is do a lot of work. do a huge volume of work. put yourself on a deadline so that every week or every month you know you’re gonna finish one story. you know what i mean? whatever its gonna be. you create the deadline. it is best if have somebody who is waiting work from you, expecting work from you. even if not somebody who pays you, but that you are in a situation where you have to turn out the work. because it is only by actually going through a volume of work that you are actually going to catch up and close that gap and the work you are making will be as good as your ambitions.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

What shapes the best in us dies when the best education dies! The best in us shall always be undermined when they that are responsible for shaping the best in us are always undermined! I stand for a different education: a different education where students will not just learn books but life! I stand for a different education: a different education where students will not just learn moral principles, but they shall be living examples of moral principles. I stand for a different education: a different education where students don’t just understand what they learn, but practice what they learn with understanding! I stand for a different education: a different education where students will not just learn about people of different beliefs, culture and backgrounds, but how to live with people who don’t share common perspective with them and know how to show their emotions of bitterness and misunderstanding rightly! I stand for a different education: a different education where students will be perfect ambassadors’ of God on earth and live their daily lives with all due diligence! I stand for a different education: a different education where students will understand why we all breathe the same air, sleep and wake up each day in the same manner to continue the journey of life! I stand for a different education: a different education where students will learn with inspiration even in their desperations! I stand for a different education: a different education where teachers are seen as true epitome of education! I stand for a different education: a different education in which the value of the teacher is well understood and the teacher is well valued as a treasure! I stand for a different education: a different education where students will not just learn, but they will reproduce great and noble things with what they learn! I stand for a different education: a different education where students will understand the real meaning of integrity and responsibility and with true courage and humility be that as such! I stand for a different education: a different education where education means creativity! Education is the spine of every nation! The better the education, the better the nation! The mediocre the education, the mediocre the nation! A good nation is good because of how education has shaped the perspective and understanding of the populace! A nation that does not know where it is heading towards must ask the machine that produces the populace who drive the nation: education! Until we fix our education, we shall always have a wrong education and we shall always see a wrong nation!

I BELIEVE THAT we know much more about God than we admit that we know, than perhaps we altogether know that we know. God speaks to us, I would say, much more often than we realize or than we choose to realize. Before the sun sets every evening, he speaks to each of us in an intensely personal and unmistakable way. His message is not written out in starlight, which in the long run would make no difference; rather it is written out for each of us in the humdrum, helter-skelter events of each day; it is a message that in the long run might just make all the difference. Who knows what he will say to me today or to you today or into the midst of what kind of unlikely moment he will choose to say it. Not knowing is what makes today a holy mystery as every day is a holy mystery. But I believe that there are some things that by and large God is always saying to each of us. Each of us, for instance, carries around inside himself, I believe, a certain emptiness—a sense that something is missing, a restlessness, the deep feeling that somehow all is not right inside his skin. Psychologists sometimes call it anxiety, theologians sometimes call it estrangement, but whatever you call it, I doubt that there are many who do not recognize the experience itself, especially no one of our age, which has been variously termed the age of anxiety, the lost generation, the beat generation, the lonely crowd. Part of the inner world of everyone is this sense of emptiness, unease, incompleteness, and I believe that this in itself is a word from God, that this is the sound that God’s voice makes in a world that has explained him away. In such a world, I suspect that maybe God speaks to us most clearly through his silence, his absence, so that we know him best through our missing him. But he also speaks to us about ourselves, about what he wants us to do and what he wants us to become; and this is the area where I believe that we know so much more about him than we admit even to ourselves, where people hear God speak even if they do not believe in him. A face comes toward us down the street. Do we raise our eyes or do we keep them lowered, passing by in silence? Somebody says something about somebody else, and what he says happens to be not only cruel but also funny, and everybody laughs. Do we laugh too, or do we speak the truth? When a friend has hurt us, do we take pleasure in hating him, because hate has its pleasures as well as love, or do we try to build back some flimsy little bridge? Sometimes when we are alone, thoughts come swarming into our heads like bees—some of them destructive, ugly, self-defeating thoughts, some of them creative and glad. Which thoughts do we choose to think then, as much as we have the choice? Will we be brave today or a coward today? Not in some big way probably but in some little foolish way, yet brave still. Will we be honest today or a liar? Just some little pint-sized honesty, but honest still. Will we be a friend or cold as ice today? All the absurd little meetings, decisions, inner skirmishes that go to make up our days. It all adds up to very little, and yet it all adds up to very much. Our days are full of nonsense, and yet not, because it is precisely into the nonsense of our days that God speaks to us words of great significance—not words that are written in the stars but words that are written into the raw stuff and nonsense of our days, which are not nonsense just because God speaks into the midst of them. And the words that he says, to each of us differently, are be brave…be merciful…feed my lambs…press on toward the goal.

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

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.