Cues Book Quotes

Growing up, I took so many cues from books. They taught me most of what I knew about what people did, about how to behave. They were my teachers and my advisers.

My father loved the library because it was a safe haven for him — no missed cultural cues, no bigoted insults from his coworkers, no glaring reminders of what was lost. All patrons of the library were pilgrims to the oracle, all seeking the same thing: knowledge. And in their pursuit of the same thing, they were all equals.

[I] threw open the door to find Rob sit­ting on the low stool in front of my book­case, sur­round­ed by card­board box­es. He was seal­ing the last one up with tape and string. There were eight box­es - eight box­es of my books bound up and ready for the base­ment! "He looked up and said, 'Hel­lo, dar­ling. Don't mind the mess, the care­tak­er said he'd help me car­ry these down to the base­ment.' He nod­ded to­wards my book­shelves and said, 'Don't they look won­der­ful?' "Well, there were no words! I was too ap­palled to speak. Sid­ney, ev­ery sin­gle shelf - where my books had stood - was filled with ath­let­ic tro­phies: sil­ver cups, gold cups, blue rosettes, red rib­bons. There were awards for ev­ery game that could pos­si­bly be played with a wood­en ob­ject: crick­et bats, squash rac­quets, ten­nis rac­quets, oars, golf clubs, ping-​pong bats, bows and ar­rows, snook­er cues, lacrosse sticks, hock­ey sticks and po­lo mal­lets. There were stat­ues for ev­ery­thing a man could jump over, ei­ther by him­self or on a horse. Next came the framed cer­tificates - for shoot­ing the most birds on such and such a date, for First Place in run­ning races, for Last Man Stand­ing in some filthy tug of war against Scot­land. "All I could do was scream, 'How dare you! What have you DONE?! Put my books back!' "Well, that's how it start­ed. Even­tu­al­ly, I said some­thing to the ef­fect that I could nev­er mar­ry a man whose idea of bliss was to strike out at lit­tle balls and lit­tle birds. Rob coun­tered with re­marks about damned blue­stock­ings and shrews. And it all de­gen­er­at­ed from there - the on­ly thought we prob­ably had in com­mon was, What the hell have we talked about for the last four months? What, in­deed? He huffed and puffed and snort­ed and left. And I un­packed my books.

It always pisses me off when I’m calling in to some Morning Zoo radio show to promote God-only-knows what—probably this book, so get ready, I’m comin’—when the DJ actually tries to convince me that there are as many female comics as male ones. Cue hypermasculine Morning Zoo Hacky McGee voice: “So Kath, I don’t know what you chicks are always complaining about.” To which I respond: “Really? Why don’t you call your local comedy club and ask for the Saturday night lineup? I guarantee you the male to female ratio is going to be about nine to one. You dick-wad.

We can look outside of ourselves for some larger example out in the sky someplace—maybe even in our imaginations. But in the end, we will imitate each other. In the end, children will imitate their parents, and parents will imitate their parents. And nation will imitate nation. In the end, we will take our cues from each other, until one of us steps out and says, “Not that way. This way.

The imagination circuit is taught to respond to the most minimal of cues. A book is an arrangement of twenty-six phonetic symbols, ten numerals, and about eight punctuation marks, and people can cast their eyes over these and envision the eruption of Mount Vesuvius or the Battle of Waterloo. But it's no longer necessary for teachers and parents to build these circuits. Now there are professionally produced shows with great actors, very convincing sets, sound, music. Now there's the information highway. We don't need the circuits any more than we need to know how to ride horses. Those of us who had imagination circuits built can look in someone's face and see stories there; to everyone else, a face will just be a face.

We think of agents, traffickers and facilitators as the worst abusers of refugees, but when they set out to extort from their clients, when they cheat them or dispatch them to their deaths, they are only enacting an entrepreneurial version of the disdain which refugees suffer at the hands of far more powerful enemies – those who terrorise them and those who are determined to keep them at arm’s length. Human traffickers are simply vectors of the contempt which exists at the two poles of the asylum seeker’s journey; they take their cue from the attitudes of warlords and dictators, on the one hand, and, on the other, of wealthy states whose citizens have learned to think of generosity as a vice. [from the London Review of Books Vol. 22 No. 3 · 3 February 2000]

So,Batman,eh?" Effing St. Clair. I cross my arms and slouch into one of the plastic seats. I am so not in the mood for this.He takes the chair next to me and drapes a relaxed arm over the back of the empty seat on his other side. The man across from us is engrossed in his laptop,and I pretend to be engrossed in his laptop,too. Well,the back of it. St. Clair hums under his breath. When I don't respond,he sings quietly. "Jingle bells,Batman smells,Robin flew away..." "Yes,great,I get it.Ha ha. Stupid me." "What? It's just a Christmas song." He grins and continues a bit louder. "Batmobile lost a wheel,on the M1 motorway,hey!" "Wait." I frown. "What?" "What what?" "You're singing it wrong." "No,I'm not." He pauses. "How do you sing it?" I pat my coat,double-checking for my passport. Phew. Still there. "It's 'Jingle bells, Batman smells,Robin laid an egg'-" St. Clair snorts. "Laid an egg? Robin didn't lay an egg-" "'Batmobile lost a wheel,and the Joker got away.'" He stares at me for a moment,and then says with perfect conviction. "No." "Yes.I mean,seriously,what's up with the motorway thing?" "M1 motorway. Connects London to Leeds." I smirk. "Batman is American. He doesn't take the M1 motorway." "When he's on holiday he does." "Who says Batman has time to vacation?" "Why are we arguing about Batman?" He leans forward. "You're derailing us from the real topic.The fact that you, Anna Oliphant,slept in today." "Thanks." "You." He prods my leg with a finger. "Slept in." I focus on the guy's laptop again. "Yeah.You mentioned that." He flashes a crooked smile and shrugs, that full-bodied movement that turns him from English to French. "Hey, we made it,didn't we? No harm done." I yank out a book from my backpack, Your Movie Sucks, a collection of Roger Ebert's favorite reviews of bad movies. A visual cue for him to leave me alone. St. Clair takes the hint. He slumps and taps his feet on the ugly blue carpeting. I feel guilty for being so harsh. If it weren't for him,I would've missed the flight. St. Clair's fingers absentmindedly drum his stomach. His dark hair is extra messy this morning. I'm sure he didn't get up that much earlier than me,but,as usual, the bed-head is more attractive on him. With a painful twinge,I recall those other mornings together. Thanksgiving.Which we still haven't talked about.

As if on cue, a line of silhouettes emerged from behind a desert scrub—shapes that moved like cats. They wandered through the landscape of corpses, touching each with a gentle nudge. They grew closer, and it became clear that Chuluum was leading the other cats on their sorrowful homage, giving the fallen librarians the honor they deserved.

His chief form of entertainment was reading. The last moments he was in a cabin were usually spent scanning bookshelves and nightstands. The life inside a book always felt welcoming to Knight. It pressed no demands on him, while the world of actual human interactions was so complex. Conversations between people can move like tennis games, swift and unpredictable. There are constant subtle visual and verbal cues, there's innuendo, sarcasm, body language, tone. Everyone occasionally fumbles an encounter, a victim of social clumsiness. It's part of being human. To Knight, it all felt impossible. His engagement with the written word might have been the closest he could come to genuine human encounters. The stretch of days between thieving raids allowed him to tumble into the pages, and if he felt transported he could float in bookworld, undisturbed, for as long as he pleased.

The backbone of this book is my four-step model of habits—cue, craving, response, and reward—and the four laws of behavior change that evolve out of these steps.

Growing up, I took so many cues from books. They taught me most of what I knew about what people did, about how to behave.

A newborn who is used to this cue-response network learns to trust her caregiving environment.

Growing up, I took so many cues from books. They taught me most of what I knew about what people did, about how to behave. They were my teachers and my advisors.

Triggers prompt people to think about your product or idea and to talk about it. Find ways to design products and ideas which are frequently triggered by cues in the everyday environment. The more often people think about you, the more they will talk about you.

Bonjour, Monsieur Fraser. She inclined her veil gracefully, more to hide the broad smile on her face than in greeting, I thought. I see you have made the acquaintance of Bouton. Are you perhaps in search of your wife? This seeming to be my cue, I sidled out of the office door behind her. My devoted spouse glanced from Bouton to the office door, plainly drawing conclusions. And just how long have ye been standin' there,Sassenach? he asked dryly. Long enough, I said, with the smug self-assurance of one in Bouton's good books.

The imagination circuit is taught to respond to the most minimal of cues. A book is an arrangement of 26 phonetic symbols, 10 numbers, and about 8 punctuation marks, and people can cast their eyes over these and envision the eruption of Mount Vesuvius or the Battle of Waterloo.

There is, of course, the misconception that straight men universally love tall, thin women. Being such a woman, I can debunk this. Many men are too insecure to date a tall woman. Many of those who aren’t are assholes looking for a trophy. It has less to do with attraction than status. Which is only effective if the tall person is a model. If you’re dating someone taller than you and she’s a model, then you must be hot and interesting. If you’re dating someone taller than you and she’s a literary agent, cue the jokes about her wearing your balls on a silver necklace.

Musk would later talk about—even joke about—having Asperger’s, a common name for a form of autism-spectrum disorder that can affect a person’s social skills, relationships, emotional connectivity, and self-regulation. “He was never actually diagnosed as a kid,” his mother says, “but he says he has Asperger’s, and I’m sure he’s right.” The condition was exacerbated by his childhood traumas. Whenever he would later feel bullied or threatened, his close friend Antonio Gracias says, the PTSD from his childhood would hijack his limbic system, the part of the brain that controls emotional responses. As a result, he was bad at picking up social cues. “I took people literally when they said something,” he says, “and it was only by reading books that I began to learn that people did not always say what they really meant.” He had a preference for things that were more precise, such as engineering, physics, and coding.

Growing up, I took so many cues from books. They taught me most of what I knew about what people did, about how to behave. They were my teachers and my advisors. In books, boys climbed trees, so I climbed trees, sometimes very high, always scared of falling. In books, people climbed up and down drainpipes to get in and out of houses, so I climbed up and down drainpipes too. They were the heavy iron drainpipes of old, clamped to the brick, not today’s lightweight plastic affairs.

To be successful in creating a good habit, you must be sure the cue is obvious, the craving is attractive, the response is easy to perform, and the reward is personally satisfying. To successfully break a bad habit, the opposite is true. In this instance, you must make the cue invisible, make the craving unattractive, the response difficult to perform, and the reward dissatisfying. As we close out Part One, remember these four steps. The rest of this book goes into further detail on how to use these

That's how it goes these days, huh? Moving forward at the sounds of horns on highways, at the cue of traffic signals, turnstiles, tollbooths, ushered and rushed to the next stop on the itinerary, and there are days on the commuter train in the winter when it's got dark early and you can't see out because of the reflection and you might put down your paper or put aside your book and really look at yourself, because amid the noise and the smoke and the strangers and what's become of your life: there you are.

More people across the globe get their news and cues from social media, it has a scary ability to generate anxiety and rage, and it is addictive. Expert after expert I talked to over the years has made the same point—in the new paradigm, engagement equals enragement. This is made worse by the people who run these companies, for whom anticipation of consequences is lacking and whose first instinct is to let it all through the gate, regardless of potential damage of danger. What’s the opposite of the Mommy state? Parent-free chaos.

Karen had noticed over the years that whether someone else felt interrupted was an entirely subjective phenomenon. Pauses in conversation were often ambiguous. Karen had noted that laidback people rarely seemed to complain of being interrupted, even when they clearly were. And control freaks constantly claimed they were being interrupted, even after quite luxurious pauses. The whole interruption issue seemed less based on clear-cut behavioral cues and more based on the subjective belief of a given speaker that they should still be in control of the discussion.

Saturday morning brought an Imbolc gift of thick fog, as our select company of three set off onto the rain-sodden moor. ‘Here we are,’ said Mrs Darley, as the well appeared before us after a ten minute climb. She immediately began to unwrap a joint offering from Phyllis and herself of an ivy swag interwoven with white ribbons and laid it across the lintel of the well. I followed suit but with a far more modest bunch of pine branches and silver honesty. ‘Drinks, dear?’ Mrs Darley looked at Phyllis, who right on cue produced three paper cups from her bag and filled them with whiskey from a hip flask.

We stood in the wings together, side by side. Reed's mouth was still agape. "It makes sense when you think about it," I mused. "You get two people together who have you-know-what, and sparks are going to fly." Reed's cue was about to start. He pointed at me and said, "Tonight. There's a party. And we're going to talk." "Yes" "Because this is crazy." "Totally." "Okay. Well." He tugged a strand of my hair. "Good luck out there." "You're not supposed to say that." "Fine. How about..." He squinted at me. "Here's looking at you kid." The smile melted off my face. "What did you say?" "It's a line. From a movie." He shrugged and burst onto the stage with a hee-haw. It was a line. From Casablanca. The same line KARL had said to me when I was Elsa. The same like Karl didn't recognize when I said it to him as Floressa. Which meant... nothing. Right? Lots of people know that line. Just because Reed said it, and Reed was a sub, it didn't mean he was... he was... "You're on," the stage manager whispered. I stumbled onto the stage. The lights were too bright. The theater was packed. Reed gave me a quick, crooked smile, and I knew. My crush on Karl was less complicated than I thought, because it wasn't Karl I'd been with that day in the garden. Now my crush on Reed... ? THAT was a scandal all on its own.

It’s important to emphasize that misattunement is not a sign of lack of love or commitment. It is inevitable and normal; in fact, it is startlingly common. Ed Tronick of Harvard Medical School, who has spent years absorbed in monitoring the interactions between mother and child, finds that even happily bonded mothers and infants miss each other’s signals fully 70 percent of the time. Adults miss their partner’s cues most of the time, too! We all send unclear signals and misread cues. We become distracted, we suddenly shift our level of emotional intensity and leave our partner behind, or we simply overload each other with too many signals and messages. Only in the movies does one poignant gaze predictably follow another and one small touch always elicit an exquisitely timed gesture in return. We are sorely mistaken if we believe that love is about always being in tune.

The usual short story cannot have a complex plot, but it often has a simple one resembling a chain with two or three links. The short short, however, doesn't as a rule have even that much - you don't speak of a chain when there's only one link. ... Sometimes ... the short short appears to rest on nothing more than a fragile anecdote which the writer has managed to drape with a quantity of suggestion. A single incident, a mere anecdote - these form the spine of the short short. Everything depends on intensity, one sweeping blow of perception. In the short short the writer gets no second chance. Either he strikes through at once or he's lost. And because it depends so heavily on this one sweeping blow, the short short often approaches the condition of a fable. When you read the two pieces by Tolstoy in this book, or I.L. Peretz's 'If Not Higher,' or Franz Kafka's 'The Hunter Gracchus,' you feel these writers are intent upon 'making a point' - but obliquely, not through mere statement. What they project is not the sort of impression of life we expect in most fiction, but something else: an impression of an idea of life. Or: a flicker in darkness, a slight cut of being. The shorter the piece of writing, the more abstract it may seem to us. In reading Paz's brilliant short short we feel we have brushed dangerously against the sheer arbitrariness of existence; in reading Peretz's, that we have been brought up against a moral reflection on the nature of goodness, though a reflection hard merely to state. Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short. ... Writers who do short shorts need to be especially bold. They stake everything on a stroke of inventiveness. Sometimes they have to be prepared to speak out directly, not so much in order to state a theme as to provide a jarring or complicating commentary. The voice of the writer brushes, so to say, against his flash of invention. And then, almost before it begins, the fiction is brought to a stark conclusion - abrupt, bleeding, exhausting. This conclusion need not complete the action; it has only to break it off decisively. Here are a few examples of the writer speaking out directly. Paz: 'The universe is a vast system of signs.' Kafka in 'First Sorrow': The trapeze artist's 'social life was somewhat limited.' Paula Fox: 'We are starving here in our village. At last, we are at the center.' Babel's cossack cries out, 'You guys in specs have about as much pity for chaps like us as a cat for a mouse.' Such sentences serve as devices of economy, oblique cues. Cryptic and enigmatic, they sometimes replace action, dialogue and commentary, for none of which, as it happens, the short short has much room. There's often a brilliant overfocussing. ("Introduction")

As we have described, Dennett (1987) theorized that humans have evolved a mentalistic interpretational system that he calls the “intentional stance,” whose function is efficiently to predict and explain other people’s actions by inferring and attributing causal intentional mind states (such as beliefs, intentions, and desires) to them. This system implies an understanding that behavior can be caused by representational mental states that can be either true or false in relation to actual reality. Since intentional mind states (such as beliefs) are not directly visible, they need to be inferred from a variety of behavioral and situational cues that the interpreter needs to monitor constantly. The ability to mentalize, which can be seen as the central mechanism of “social (or mental) reality testing,” is therefore a developmental achievement that unfolds through the gradual sensitization to and learning about the mental significance of relevant expressive, behavioral, verbal, and situational cues that indicate the presence of mind states in persons.

The next day we booked a three-hundred pound sow for a most unusual photoshoot. She was chauffeured to Hollywood from a farm in Central Valley, and arrived in style at the soundstage bright and early, ready for her close-up. She was a perfect pig, straight from the animal equivalent of Central casting: pink, with gray spots and a sweet disposition. Like Wilbur from Charlotte's Web, but all grown up. I called her "Rhonda." In a pristine studio with white walls and a white floor, I watched as Rhonda was coaxed up a ramp that led to the top of a white pedestal, four feet off the ground. Once she was situated, the ramp was removed, and I took my place beside her. It was a simple setup. Standing next to Rhonda, I would look into the camera and riff about the unsung heroes of Dirty Jobs. I'd conclude with a pointed question: "So, what's on your pedestal?" It was a play on that credit card campaign: "What's in your wallet?" I nailed it on the first take, in front of a roomful of nervous executives. Unfortunately, Rhonda nailed it, too. Just as I asked, "What's on your pedestal?" she crapped all over hers. It was an enormous dump, delivered with impeccable timing. During the second take, Rhonda did it again, right on cue. This time, with a frightful spray of diarrhea that filled the studio with a sulfurous funk, blackening the white walls of the pristine set, and transforming my blue jeans into something browner. I could only marvel at the stench, while the horrified executives backed into a corner - a huddled mass, if you will, yearning to breath free. But Rhonda wasn't done. She crapped on every subsequent take. And when she could crap no more, she began to pee. She peed on my cameraman, She peed on her handler. She peed on me. Finally, when her bladder was empty, we got the take the network could use, along with a commercial that won several awards for "Excellence in Promos." (Yes, they have trophies for such things.) Interestingly, the footage that went viral was not the footage that aired, but the footage Mary encouraged me to release on YouTube after the fact. The outtakes of Rhonda at her incontinent finest. Those were hysterical, and viewed more times than the actual commercial. Go figure. Looking back, putting a pig on a pedestal was maybe the smartest thing I ever did. Not only did it make Rhonda famous, it established me as the nontraditional host of a nontraditional show. One whose primary job was to appear more like a guest, and less like a host. And, whenever possible, not at all like an asshole.

I take a cue from the list I made on my first night here alone and make soup. I chop vegetables and boil pasta, pour a carton of chicken stock into a pot. Once I’ve combined all the ingredients and it’s time to wait while they cook, I turn to the second essay in the solitude book, but my mind is too full of different versions of the last summer’s story. There’s one where I fail him. Where I stop coming home so he stops making dinner, and I’m not around to see how much he needs me. And then there’s one where he fails me. Where I feel it—that he doesn’t want me there, that I’m in the way. So I stay away, for him and for me. So that I never face his rejection. So that I get to pretend I’m the most important thing to him, the way he is to me. Because if we have any sense of self-preservation, we do the best with what we’re given. I was given cakes and cookies and rides to school. I was given songs and dinners at a table with brass candlesticks. I was given a man with a sensitive heart and a devious sense of humor and enough skill at cards to win me a year of private college—tuition and room and board—and I took all of those good things and told myself they made us special. Told myself they meant we were a family the way Mabel and Ana and Javier were, told myself that we weren’t missing anything. We were masters of collusion, Gramps and I. In that, at least, we were together.

We believe that the caregiver’s capacity to observe the moment-to-moment changes in the child’s mental state is critical in the development of mentalizing capacity. The caregiver’s perception of the child as an intentional being lies at the root of sensitive caregiving, which attachment theorists view as the cornerstone of secure attachment (Ainsworth et al. 1978; Bates, Maslin, and Frankel 1985; Belsky and Isabella 1988; Egeland and Farber 1984; Grossmann, Grossmann, Spangler, Suess, and Unzner 1985; Isabella 1993; Isabella and Belsky 1991). Secure attachment, in its turn, provides the psychosocial basis for acquiring an understanding of mind. The secure infant feels safe in making attributions of mental states to account for the behavior of the caregiver. In contrast the avoidant child shuns to some degree the mental state of the other, while the resistant child focuses on its own state of distress, to the exclusion of close intersubjective exchanges. Disorganized infants may represent a special category: hypervigilant of the caregiver’s behavior, they use all cues available for prediction; they may be acutely sensitized to intentional states and thus may be more ready to construct a mentalized account of the caregiver’s behavior. We would argue (see below) that in such children mentalization may be evident, but it does not have the central role in self-organization that characterizes securely attached children. We believe that what is most important for the development of mentalizing self-organization is the exploration of the mental state of the sensitive caregiver, which enables the child to find in the caregiver’s mind (that is, in the hypothetical representation of her mind that he constructs to explain her behavior toward him) an image of himself as motivated by beliefs, feelings, and intentions. In contrast, what the disorganized child is scanning for so intently is not the representation of his own mental states in the mind of the other, but the mental states of that other that threaten to undermine his own self.

Glass" In every bar there’s someone sitting alone and absolutely absorbed by whatever he’s seeing in the glass in front of him, a glass that looks ordinary, with something clear or dark inside it, something partially drunk but never completely gone. Everything’s there: all the plans that came to nothing, the stupid love affairs, and the terrifying ones, the ones where actual happiness opened like a hole beneath his feet and he fell in, then lay helpless while the dirt rained down a little at a time to bury him. And his friends are there, cracking open six-packs, raising the bottles, the click of their meeting like the sound of a pool cue nicking a ball, the wrong ball, that now edges, black and shining, toward the waiting pocket. But it stops short, and at the bar the lone drinker signals for another. Now the relatives are floating up with their failures, with cancer, with plateloads of guilt and a little laughter, too, and even beauty—some afternoon from childhood, a lake, a ball game, a book of stories, a few flurries of snow that thicken and gradually cover the earth until the whole world’s gone white and quiet, until there’s hardly a world at all, no traffic, no money or butchery or sex, just a blessed peace that seems final but isn’t. And finally the glass that contains and spills this stuff continually while the drinker hunches before it, while the bartender gathers up empties, gives back the drinker’s own face. Who knows what it looks like; who cares whether or not it was young once, or ever lovely, who gives a shit about some drunk rising to stagger toward the bathroom, some man or woman or even lost angel who recklessly threw it all over—heaven, the ether, the celestial works—and said, Fuck it, I want to be human? Who believes in angels, anyway? Who has time for anything but their own pleasures and sorrows, for the few good people they’ve managed to gather around them against the uncertainty, against afternoons of sitting alone in some bar with a name like the Embers or the Ninth Inning or the Wishing Well? Forget that loser. Just tell me who’s buying, who’s paying; Christ but I’m thirsty, and I want to tell you something, come close I want to whisper it, to pour the words burning into you, the same words for each one of you, listen, it’s simple, I’m saying it now, while I’m still sober, while I’m not about to weep bitterly into my own glass, while you’re still here—don’t go yet, stay, stay, give me your shoulder to lean against, steady me, don’t let me drop, I’m so in love with you I can’t stand up. Kim Addonizio, Tell Me (BOA Editions Ltd.; First Edition (July 1, 2000)

Interestingly enough, creative geniuses seem to think a lot more like horses do. These people also spend a rather large amount of time engaging in that favorite equine pastime: doing nothing. In his book Fire in the Crucible: The Alchemy of Creative Genius, John Briggs gathers numerous studies illustrating how artists and inventors keep their thoughts pulsating in a field of nuance associated with the limbic system. In order to accomplish this feat against the influence of cultural conditioning, they tend to be outsiders who have trouble fitting into polite society. Many creative geniuses don’t do well in school and don’t speak until they’re older, thus increasing their awareness of nonverbal feelings, sensations, and body language cues. Einstein is a classic example. Like Kathleen Barry Ingram, he also failed his college entrance exams. As expected, these sensitive, often highly empathic people feel extremely uncomfortable around incongruent members of their own species, and tend to distance themselves from the cultural mainstream. Through their refusal to fit into a system focusing on outside authority, suppressed emotion, and secondhand thought, creative geniuses retain and enhance their ability to activate the entire brain. Information flows freely, strengthening pathways between the various brain functions. The tendency to separate thought from emotion, memory, and sensation is lessened. This gives birth to a powerful nonlinear process, a flood of sensations and images interacting with high-level thought functions and aspects of memory too complex and multifaceted to distill into words. These elements continue to influence and build on each other with increasing ferocity. Researchers emphasize that the entire process is so rapid the conscious mind barely registers that it is happening, let alone what is happening. Now a person — or a horse for that matter — can theoretically operate at this level his entire life and never receive recognition for the rich and innovative insights resulting from this process. Those called creative geniuses continuously struggle with the task of communicating their revelations to the world through the most amenable form of expression — music, visual art, poetry, mathematics. Their talent for innovation, however, stems from an ability to continually engage and process a complex, interconnected, nonlinear series of insights. Briggs also found that creative geniuses spend a large of amount of time “doing nothing,” alternating episodes of intense concentration on a project with periods of what he calls “creative indolence.” Albert Einstein once remarked that some of his greatest ideas came to him so suddenly while shaving that he was prone to cut himself with surprise.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

Memories of actual events have more temporal and spatial attributes than do memories of imagined events (you may recall the exact time of your visit to the library and remember which floor you visited), more sensory attributes (you may recall the color of the shirt you wore that day), more detailed and specific information (you may recall which books you checked out, which other people were present, what the librarian said), and more emotional information (you may recall your boredom and frustration as you stood in the long checkout line). You may also have supporting memories (you may still have the book you checked out that day), and your memories may be corroborated by those of others (your friend reports remembering going to the library with you that day). We rely on all these cues to distinguish real from imagined events. We may also rely on our reasoning powers: If the memory includes logically impossible events (books jumping off the shelf to greet you), you may conclude that this event must have been imagined. On the other hand, if the recalled events seem coherent and logically interrelated, you may view the memory as more accurate. Because we rely on such cues to construct the reality of recalled events, we may sometimes confuse reality and imagination when the cues mislead us. As imagined events become more rich and detailed, we become more likely to mistake them for real.

Second is Cornell notes. Use them. Cornell notes split your note-taking into three parts: taking notes, writing cues, and summarizing. In this way, you create your own study guide,

Second is Cornell notes. Use them. Cornell notes split your note-taking into three parts: taking notes, writing cues, and summarizing. In this way, you create your own study guide, with the ability to go into as much detail as you want on command. The fact that you’ve gone through the information three times also doesn’t hurt. Finally, self-explanation. Do it. When we are forced to try to explain concepts through self-inquiry, we will quickly discover what we do know and what we don’t know at all. These are called blind spots, and they are far more common than you might like to think. Can

physically healthy infant primates who were separated from their mothers during the first year of life grew into socially crippled adults. The monkeys failed to develop the ability to solve problems or understand the social cues of others. They became depressed, self-destructive, and unable to mate.

I spent the next week learning the intricate details of what Louise called "horsewomanship". (...) Live and ride with the horses; be in unison with the horses rather than trying to control them; learn the language and cues so you don't hurt the horses or yourself; be in harmony. The true art of horseback riding was to understand the self, not to dominate the horse. That had to remain core.

Again, your hand should guide the bell in the shortest path possible.  One cue is to pretend you are “zipping up your jacket.”  Anything that helps keep your hand close to your body and moving up while guiding the bell toward the end point of the clean.

Hmm, we must resume your education, I think, of such finer things. Flowery is the opposite of … woody. Not bitter memory of sap, in other words, but something sweet, as of narcissus or skullcrown—’ ‘Those flowers are poisonous,’ Quick Ben noted in faint alarm. ‘But pretty and sweet in appearance, yes? I doubt any of us are in the habit of eating flowers, thus in analogy I sought visual cues for dear Emancipor.’ ‘Ah, I see.’ ‘Before you pour from that bottle, then, Emancipor. Was the aftertaste bitter or sweet?’ ‘Uh, it was kind of thick, master. Like iron.’ Bauchelain rose and grasped the bottle. He held it close, then sniffed the mouth. ‘You idiot, this is blood from Korbal Broach’s collection. Not that row, the one opposite. Take this back to the cellar.’ Emancipor’s lined face had gone parchment-white. ‘Blood? Whose?’ ‘Does it matter?’ As Emancipor gaped, Quick Ben cleared his throat and said, ‘To your servant, I think the answer would be “yes, it does”.’ The crow cackled from the mantelpiece, head bobbing. The servant sagged on watery knees, the goblets on the tray clinking together. Frowning, Bauchelain collected the bottle again and sniffed once more. ‘Well,’ he said, returning it to the tray, ‘I’m not the one to ask, of course, but I think it’s virgin’s blood.’ Quick Ben had no choice but to enquire, ‘How can you tell?’ Bauchelain regarded him with raised brows. ‘Why, it’s woody.

The beasts. Tobias’s lips turned up as he looked at the bags surrounding us and back. “They will be grateful, but you two need to get ready. Have someone else bring it to them. We don’t have time.” As if on cue, the creatures started to sing, and my gaze dropped to the stone floor. A chill ran up my spine at the chorus of laughter. It always reminded me of hyenas, and it freaked me out. I knew how far down they were, and it always astounded me how the acoustics worked such that we could still hear them. Miles of tunnels snaked their way into the mountain, connecting rooms, chambers, and dungeons through numerous levels.

Let me put your bag in the house, and then we can leave for dinner,” Rhodes kept going, before angling his body toward me. They were going to a dinner I hadn’t been invited to. I could read a cue. “In that case, it was nice meeting you, Mr. Randall. I will—” Rhodes’s hand landed on my shoulder, the side of his pinky landing on my bare collarbone just a little bit. “Come with us.” I jerked my head up to meet his gray eyes. He had his serious face on, and I was pretty sure he’d used his Navy Voice, but I hadn’t been paying enough attention because I’d been distracted by his finger. “I’m sure you three want to spend some quality time together….” I trailed off, cautiously, not sure if he wanted me to go or… not? “Come with us, Ora.” It was Amos who piped up. But he wasn’t the one I was worried about. Rhodes’s big hand gave my shoulder a gentle squeeze, and I was fairly certain his gaze softened, because his voice definitely did. “Come with us.” “Are you asking me or telling me?” I whispered. “Because you’re whispering, but you’re still using your bossy voice.” His mouth twisted, and he lowered his voice to reply, “Both?” I grinned. I mean, okay. I wasn’t at a good part in my book yet, and I hadn’t eaten dinner either. “Okay then. Sure, if none of you care.” “Nope,” Am muttered. “Not at all,” Mr. Randall answered, still eyeballing me speculatively. “I’ll wait out here then while you put his things up,” I said. “I’ll come along. I’d like to wash my hands before we leave,” Randall said with a sniff. Rhodes gave me another squeeze before he stepped aside and headed toward the back of his father’s Mercedes. In no time at all, he had pulled a suitcase out of the back, and he and his dad were heading inside the house. Amos stayed outside with me, and the second that door closed, I said, “I’m so sorry, Am. I just heard him being so rude, and you guys were trying to be polite, and I could tell your dad was about to lose his shit, and I just wanted to help.” The kid stepped forward and wrapped his arms around me, hesitated for a second, then patted me on the back awkwardly. “Thanks, Ora.” He hugged me. He’d fucking hugged me. It felt like my birthday. I hugged him back real tight and tried not to let him see the tear in my eye so I wouldn’t ruin it. “Thanks for what? Your dad is going to kill me.” I felt him laugh against me before he dropped his arms and took a big step back, his cheeks a little flushed. But he was smiling that sweet, shy smile he rarely shared. “He’s not.” “I’m 50 percent sure it might happen,” I claimed. “He’s going to bury me somewhere no one will ever find me, and I know he could do it because I’m sure he has a bunch of spots picked out where, if it ever came down to it, he could pull it off. 

Variability is the missing link in many runners’ routines. More important than anything else discussed in this book, it’s the first step to running better. Even without doing any corrective stretches or exercises, without cueing and form changes, variation will allow your body and brain to find better ways of moving.

One piece of information can become the cue for another and strings or networks of cues can be built.

Automaticity is the principle that habits are formed by repetitive practice, not time passed. Questions to Guide the Reader 1.​What is Hebb’s Law and how does it apply to habit formation? 2.​Two people are both trying to establish a reading habit. One person reads as much as possible every day, while the other creates a long-term goal of reading three books within six months. Who will create their habit more effectively and why? 3.​What is the difference between being in motion and taking action? Action Plan 1.​Define the habit that is desired. 2.​Insert cues into your daily routine to perform the action desired. 3.​Practice, practice, practice. 4.​Remember not to stay in perpetual motion – you must take action.

Autumn in kimono, Poet's cue to write haiku— Sense over rhyme.